NOTES:  CRITICAL 
&  BIOGRAPHICAL 


EDWARD 
DEWITT 
TAYLO 


NOTES:   CRITICAL  &  BIOGRAPHICAL 


NOTES:  CRITICAL 
&  BIOGRAPHICAL 
BY  R-B-GRUELLE 

TT 


W-TMKALTERS 


JMBOWLES  EDITOR 

AND  PUBLISHER 


Copyright,  1895,  by  J.  M.  Bowles 


ORDER  OF  CONTENTS 

Introduction 


Millet  i 

Rousseau  7 

Corot  ii 

Troyon  17 

Dupre  21 

Diaz  27 

Daubigny  33 

Ziem  37 

II 

Delaroche  41 

Gallait  46 

Leys  54 

Vernet  58 

Jalabert  59 

III 

Gericault  63 

Delacroix  64 

Scheffer  69 

Isabey  71 

IV 

Decamps  75 

Fromentin  *  77 

Couture  80 

Gleyre  82 


V 

Fortuny  84 

Zama9ois  88 

Madrazo  go 

Rico  92 

Villegas  94 

Jiminez  97 

VI 

Bonnat  99 

Gerome  104 

Breton  108 

Meissonier  in 

Dagnan-Bouveret  114 

De  Neuville  116 

Van  Marcke  120 

Schreyer  124 

Cabanel  127 

Hebert  128 

Merle  129 

Brandon  130 

VII 

Frere  132 

Knaus  137 

VIII 

Becker  I41 

Achenbach  142 

Muller  143 

Pettenkofen  145 

IX 

Turner  I46 

Alma-Tadema  148 

Riviere  153 

Boughton  155 

Millais  I56 


X 

Works  in  Oil — Miscellaneous  158 

XI 

The  Water-color  Gallery  171 

Bonvin  188 

Bida  193 

XII 

The  Barye  Collection  196 

XIII 

The  Peachbloom  Vase  204 

The  Oriental  Gallery  206 

Japanese  and  Chinese  Bronzes  209 

XIV 

The  Head  in  Wax  211 

Ivories:    "Psyche"  and  "Phryne"  213 

Miniatures  214 

A  Final  Glance  216 

Index 


INTRODUCTION 


"The  city  of  Baltimore 

possesses  an  institution 

of  which  any  city 

might  well  be  proud,  *  * 

a  private  collection 

which  has  been 

gradually  unfolding 

during  the  last  half 

century  until  it  has 

reached  proportions  of 

unrivaled  magnitude 

and  far-reaching 

influence." 

Martha  J.  Lamb 


URING  a  visit  to  Wash- 
ington in  the  spring  of  1892 
I  had  the  extreme  pleas- 
ure of  spending  a  day  with 
Mr.  Walters'  pictures  at 
Baltimore.  The  first  thing 
that  impressed  me  on  en- 
tering the  gallery  was  the 
personality  of  the  collec- 
tion. Another  thing  I  no- 
ticed was  its  wide  range,  both  in  regard  to  sub- 
ject and  style.  It  was  confined  to  no  school  or 
nationality,  and  while  there  were  scores  of  the 
greatest  paintings  ever  brought  to  our  country, 
there  was  not  a  bad  picture  in  the  room.  You 
vfelt  that  you  were  surrounded  by  the  works 
of  the  strongest  painters,  and  there  was  noth- 
ing in  the  decoration  or  arrangement  of  the  gal- 
lery that  in  any  way  interrupted  or  marred 
their  effect.  In  taking  a  hurried  glance  around 
the  room  I  was  attracted  to  a  portrait,  a  three- 
quarter  length,  of  a  gentleman.  The  subject 
was  a  business  man,  short  and  compact,  with 
strong  features  and  healthy  color.  This  pict- 
ure was  painted  with  such  vigor,  force  and 
realism  that  I  was  startled  for  the  moment  and 
could  not  get  away  from  it.  I  found  myself 
continually  returning  to  it  and  trying  to  ana- 
lyze the  man,  not  the  picture,  for  it  seemed  to 
me  to  be  a  real  living  Ego.  The  man  appeared 
to  be  related  to  the  pictures  about  him.  They 


seemed  to  fit  together.  As  there  was  no  name 
on  the  picture  save  that  of  the  painter,  Leon 
Bonnat,  inquiry  revealed  the  fact  that  it  was  a 
portrait  of  the  proprietor,  Mr.  Walters.  Then 
I  saw  afonce  the  relationship  between  the  por- 
traitandthepicturessurroundingit.  They  were 
brought  together  as  a  result  of  his  personal 
taste,  and  revealed  him  as  a  man  of  broad  hu- 
man sympathy.  In  the  fall  of  1892,  at  the  ear- 
nest request  of  Mr.  J.  M.  Bowles,  the  writer  was 
induced  toattempt  to  describe  some  of  thegreat 
pictures  of  the  collection  for  "Modern  Art,"  a 
publication  then  about  to  be  placed  before  con- 
noisseurs. Entirely  inexperienced,  it  was  with 
fear  and  trembling  I  approached  the  sacred 
spheres  of  the  works  of  the  greatest  masters  of 
the  century,  lest  in  some  way  I  should  mar  or 
do  discredit  to  their  matchless  beauty  by  a 
feeble  attempt  to  translate  into  words  these 
pictures,  born  of  feeling.  Encouraged  by  the 
reception  given  to  the  articles  in  "Modern 
Art,"  the  present  publication  was  determined 
on.  With  this  enlarged  work  in  view  the  writ- 
er has  made  many  pilgrimages  to  this  Mecca  of 
art,  gathering  the  inspiration  fromthe  pictures 
that  was  necessary  to  its  fulfillment.  In  the 
arrangement  of  these  papers  I  am  greatly  in- 
debted to  Mr.  Bowles,  who  has  carefully  edit- 
ed them  and  whose  personal  taste  is  repre- 
sented in  the  artistic  form  of  the  book. 

Besides  the  various  articles  described  in  this 
little  volume  there  still  remain  worlds  of  beau- 
ty unmentioned.  This  household  is  from  gar- 
ret to  cellar  a  veritable  museum,  stored  with 
objects  of  art.  To  the  artist  as  well  as  the  pub- 
lic the  educational  value  of  the  collection  can 
not  be  overestimated.  It  is  an  honor  to  our 
country  and  stands  as  a  beautiful  monument 
of  the  true  use  of  wealth.  Of  him  whose  life 


INTRO- 
DUCTION 


"The  primary 
consideration  in 
selection  has  been  that 
of  the  beauty  of  a 
picture — beauty,  pure 
and  simple.     It  is 
because  of  this  fact  that 
the  gallery  has  gained 
its  great  celebrity 
among  the  truest 
critics,  one  of  whom 
says  enthusiastically 
that  it  comes  near 
being  the  realization  of 
a  connoisseur's  dream, 
and  another — the 
eminent  authority  upon 
all  art  matters, 
M.  Durand  Greville — to 
exclaim,  'Too  much 
riches — and  such 
incomparable  riches.'  " 
Alfred  Mathews 


TNTRO  W0fk  *s  treasured  in  this  residence,  words  of 
nilPTTON  Praise  are  unnecessary.  The  objects  them- 
selves speak  with  far  more  eloquence  than 
could  the  pen  of  the  most  accomplished.  It  is  a 
grand  realization  of  the  dreams  of  his  youth, 
dreams  whose  fulfillment  then  was  visible  only 
in  the  boundless  possibilities  of  the  great  world 
that  lay  before  him.  Like  a  gardener  on  the  sil- 
very side  of  life,  who  is  found  among  the  plants 
and  flowers  which  he  has  nurtured  and  seen 
grow  into  the  fullness  of  nature,  so  has  he  for 
years  watched  the  development  of  this  beau- 
tiful collection,  and  with  loving  care  constantly 
added  and  weeded  out  until  one  would  linger 
long  ere  displacing  a  single  object.  Between 
him  and  many  of  the  most  illustrious  of  the 
artists  represented  bonds  of  friendship  have 
existed  which  greatly  endear  their  works  to 
him.  In  gathering  the  data  from  which  these 
articles  have  been  written  nothing  could  have 
exceeded  the  kindness  shown  the  writer  by  Mr. 
Walters,  whose  work  exemplified  in  the  for- 
mation of  this  collection  implies  a  genius  as 
peculiar  and  distinct  in  its  way  as  that  of  any 
of  the  masters  whose  names  appear  on  these 
pages.  To  this  work  and  to  him  who  accom- 
plished it  I  humbly  dedicate  this  book,  brought 
as  a  cluster  of  wild  flowers  plucked  from  the 
wayside. 

Richard  B.Gruelle 
Indianapolis,  July,  1894 


BAN  FRANQOIS  MIL- 
LET *^£  Who  can  over- 
estimate the  value  of  the 
life  and  work  of  this  seri- 
ous master?  Displaying 
a  strong  talent  for  paint- 
ing, he  received  a  small 
pension  from  the  munici- 
_.,  pal  council  of  Cherbourg 
"£&  which  enabled  him  to  go 


to  Paris,  where  he  entered  the  studio  of  Dela- 
roche.  These  early  years,  like  his  whole  career, 
were  marked  by  a  continuous  struggle  for  ex- 
istence. It  was  at  this  period  that  he  became 
acquainted  with  those  kindred  spirits,  Corot, 
Rousseau,  Diaz,  Dupre  and  Barye.  The  latter 
was  strugglingto  teach  man  the  grandeur  of  the 
animal  kingdom,  and  make  him  more  sensitive 
to  its  value  and  beauty,  while  he,  Millet,  was 
destined  to  call  out  a  higher  appreciation  of  the 
men  who  delve  in  the  fields.  At  first  he  con- 
formed to  the  prevailing  taste  of  the  times  and 
painted  popular  subjects,  and  with  some  suc- 
cess, but  his  heart  yearned  for  deeper  and  bet- 
ter things.  He  turned  toward  the  peasants, 
drawn  by  the  earnestness  of  his  nature,  the 
memory  of  his  kindred  and  their  humble  lives, 
and  the  deep  impressions  received  from  them 
since  his  earliest  childhood.  The  burden  of  hu- 
manity seemed  to  lie  heavily  upon  him.  It  was 
as  if  some  unseen  power  had  said/'These  are 

i 


"The  gay  side  never 
shows  itself  to  me.     I 
don't  know  where  it  is. 
I  have  never  seen  it. 
The  gayest  thing 
I  know  is  the  calm,  the 
silence,  which  is  so 
sweet  both  in  the  forest 
and  in  the  fields." 

Millet 


MILLET 


"My  programme  is 

Work.    'Thou  shall  gain 

thy  bread  in  the  sweat 

of  thy  brow'  was  writ- 

ten centuries  ag^.-rJ-Jm- 

mutable  destinj  \yhich 

none  may  change!" 

' 


"The  aim  of  a  great 

painter  is  not  to  fly 

away  toward  the  moon 

and  the  stars;  it  is  to 

walk  with  a  firm  step 

and  a  feeling  heart 

in  the  path  which  he 

choses,  always  sincere 

toward  himself, 

toward  men,  and  toward 

nature.    This  aim 

Millet  had;  and  it  was 

that  which  made 

him  incomparable  and 

immortal." 

Theophile  Silvestre 


my  children, go  paint  them;"teachingthe  world 
that  underneath  their  coarse  and  unpolished 
exteriors  there  were  living  souls  striving  for 
something  better.  To  the  serious,  religious  na- 
ture of  Millet  the  path  of  duty  lay  plainly  be- 
fore him,  and  without  regard  to  circumstances 
o'r  external  conditions  he  walked  therein.  He 
was  a-ptfet  whose  heart  beat  in  perfect  uni- 
son-with  the  life  about  him.  He  sang  the  songs 
of  the  peasants'  joys  and  sorrows  with  such 
earnestness  that  the  heart  of  humanity  has 
been  touched  and  quickened  into  a  higher  ap- 
preciation of  their  beauty  and  worth.  In  fact, 
Millet's  art  has  entered  largely  into  the  civil- 
ization of  our  time,  teaching  in  its  silent  way 
the  brotherhood  of  man.  The  clouds  of  adver- 
sity which  had  hung  over  him  for  thirty  years 
were  just  breakingwhenhefelljtiredand  weary 
with  the  struggle.  He  alone  of  all  his  compan- 
ions was  destined  to  go  without  reaping  the  re- 
wards of  his  life's  work.  To  him,  honors,  like 
flowers,  were  strewn  upon  his  bier. 

Millet  was  one  of  the  most  original  painters 
of  the  century  and  unlike  any  of  his  predeces- 
sors. His  soul  was  completely  absorbed  in  his 
work,  notwithstanding  the  poverty  and  want 
that  constantly  stalked  beside  him.  With  the 
exception  of  Frere  and  Breton,  no  one  else  has 
truly  painted  the  peasant,  before  or  since ;  save 
perhaps  in  those  bits  of  home  life  painted  ear- 
ly in  the  century  by  Chardin  and  Fortin.  Hun- 
dreds have  tried  to  paint  them,  but  few  have 
gone  beyond  the  picturesque;  the  outer  or  ob- 
jectiveside.  Millet,being  a  peasant,  painted  the 
true  conditions  of  the  life  which  he  humbly 
shared.  Save  in  one  or  two  instances,  hope  is 
always  found  associated  with  his  peasants. 
They  are  ever  concerned  in  and  preparing  for 
the  morrow.  Whether  digging  or  gleaning  they 


are  never  despondent,though  their  condition  is      MILLET 
expressed  with  pathos.  There  are  three  grand 
examples  of  hispowers  inthemaingalleryhere, 
beautiful,  original  and  distinct  in  style,  while  in 
the  water  color  room  there  are  several  match- 
less drawings.  No-  **1 
One  of  Millet's  most  poetic  pictures  is  -The 

—  -  _    ,  -   ,,        TT  *   -  *   .,  .      .       .  -MOONLIGHT 

Sheepfold.  Here  you  have  silence  painted, 
perhaps  as  never  expressed  before.  In  this  lit- 
tle moonlight  is  seen  a  simple  flat  plain  such  as 
Millet  has  painted  in  most  of  his  pictures.  On 
the  left  there  is  a  pen  or  sheepfold,  made  of 
slender  poles.  At  the  gate  stands  the  shepherd; 
beside  him  his  faithful  dogs.  Moving  around 
and  from  you,  toward  the  fold,  is  a  herd  of  sheep 
huddled  closely  together,  while  just  above  the 
horizon  hangs  the  moon.  Into  this  little  picture 
there  is  painted  such  a  great  sense  of  vastness 
that  you  lose  all  thought  of  dimensions  and  feel 
the  real  depthand  breadthof  nature.  Thewhole 
scene  is  pervaded  with  an  air  of  repose,  a  still- 
ness that  is  filled  with  mystery,  heightened  by 
the  manner  in  which  the  sheep  huddle  togeth- 
er as  if  some  awful  sound  might  break  the  still- 
ness. That  they  sense  the  feeling  of  solitude, 
you  can  not  help  but  feel.  As  you  look  at  the 
sky  you  are  seeing  into  endless  space.  The 
moon  is  so  luminous  and  surrounded  with  such 
a  wonderful  light  that  you  fall  into  the  prevail- 
ing sentiment  of  the  picture  and  are  transport- 
ed to  the  place,  to  become  a  part  of  the  scene. 
You  feel  the  moon  coming  forward  in  full  re- 
lief and  then  gradually  sinking  back  into  the  far 
distance,  so  softly,  so  tenderly,  so  lovingly  that 
you  are  entranced  with  its  beauty.  It  is  a  real- 
ly luminous  light-giving  orb,  and  for  the  first 
time  in  my  life  I  find  a  moon  painted  so  that 
you  would  never  mistake  it  for  a  wafer.  The 
tone  of  the  picture  is  of  a  bluish,  silvery,  pur- 

3 


MILLET 


"It  was  in  the  full 
bloom  of  that 
commanding  style  that 
Millet  came  forward 
with  his  veritable 
peasantry,  in  their 
energetic  attitudes,  and 
with  their  clothes  that 
little  by  little  had 
taken  the  earth  color, 
so  completely  had  man 
assimilated  himself 
with  the  soil.     'This 
lacks  poetry,'  people 
said;  in  other  words, 
this  lacked  falsehood. 
There  was  no  arrange- 
ment for  dazzling  the 
eye;  in  this  style 
everything  addressed 
itself  to  the  thought. 
It  was  not  on  the 
surface  of  the  canvas 
that  the  poetry  lay 
— it  was  the  essence  of 
those  creations." 
Albert  Wolff 


plish  hue.  The  outlines  are  very  indefinitely, 
very  tenderly,  let  into  the  background,  yet  ev- 
erything has  a  firmness  and  solidity  that  could 
not  be  surpassed.  The  light  from  the  moon 
throws  long,  mysterious  shadows  across  the 
ground,  indescribable  in  effect.  There  is  al- 
ways something  wonderful  in  the  color  of  the 
little  touches  of  shadow  that  you  find  in  Millet's 
landscapes  —  a  mouldy  purple,  but  a  very  sub- 
dued one.  This,  too,  is  a  picture  that  speaks  to 
the  inner  senses  as  well  as  to  the  material  sight. 
Millet  was  essentially  a  religious  painter.  He 
saw  and  felt  the  beauty  that  existed  unappre- 
ciated in  the  humble  life  about  him.  Many  art- 
ists had  painted  pictures  of  peasant  life,  but  no 
one  had  attempted  to  paint  them  save  as  boors 
engaged  in  drinkingor  havinga  good  time.  But 
to  Millet  their  humble  life  was  full  of  the  grand 
poetry  of  humanity.  To  paint  this  and  compel 
the  world  to  acknowledge  it  was  his  mission. 
Thathe  would  sufferwhiledoingthisgreat  work 
he  undoubtedly  realized,  but  the  inner  forces  of 
nature  working  out  the  development  of  man 
pushed  him  forward,  and  without  turningtothe 
right  or  left  he  worked  with  this  one  great  object 
in  view.  The  struggles  and  suffering  that  came 
to  him  only  unfolded  the  real,  tender,  loving 
spirit  within  him.  While  "singing  the  songs  of 
thelowly"hewasunconsciouslydevelopinghis 
own  nature  and  gaining  for  himself  a  name,  an 
imm  ortality  that  should  mark  an  epoch  in  the 
evolution,  not  only  of  art,  but  of  all  that  is  good, 
true  and  beautiful.  In  his  work  breathes  the 
sentiment  of  the  religion  of  the  future,  the  re- 
ligion of  humanity;  live,  vigorous  and  based  on 
the  universal  brotherhood  of  man.  In  this  pict- 
ure you  feel  the  relationship  of  all  things ;  in 
fact,  you  feel  inlall  Millet's  pictures  that  he  had 
not  simply  a  passing  acquaintance,  but  a  ten- 

4 


1N/TTT  T  P*T* 

der,  loving  sympathy  for  all  things.  Hence,  we 
call  his  art  sympathetic  and  we  love  to  think  of 
him  as  "the  brother,"because  hegavehis  lifefor 
the  benefit  of  those  about  him.  «THE  POTATO 

"The  Potato  Harvest"  is  a  very  characteris-  HARVEST" 
tic  Millet  and  full  of  his  best  inspiration.  All 
the  distinguished  beauties  of  his  art  are  found 
here  and  it  is  undoubtedly  one  of  his  noblest 
pictures.  The  coloring  is  of  a  rich,  deep,  glow- 
ing kind  that  appeals  to  the  emotions.  A  ten- 
der olive  tone  runs  through  the  entire  picture, 
and  while  it  is  quiet  and  restful,  yet  there  is 
a  strength  of  both  color  and  drawing  that  is 
powerful  in  effect.  There  is  a  great  sense  of 
largeness,  a  characteristic  that  is  found  in  all 
of  Millet's  work.  Every  touch  on  the  canvas 
is  the  result  of  careful,  serious  plodding,  as  it 
were,  to  attain  the  desired  end.  He  worked 
and  dug  until  he  reached  the  full  realization  of 
his  subject.  In  this  picture  you  feel  the  vital 
forces  of  the  man. 

In  the  immediate  foreground  a  peasant  wo- 
man holds  a  sack  into  which  a  man  is  emp- 
tying potatoes.  These  figures  are  round  and 
statuesque.  They  have  the  movement  of  liv- 
ing realities,  the  real  ponderosity  of  life.  Size 
and  vitality  are  felt  at  once.  The  costumes 
are  somber  and  in  harmony  with  the  sentiment 
of  the  nature  about  them,  a  thing  Millet  nev- 
er missed.  Just  back  of  the  figures  are  sacks 
filled  with  potatoes.  They  are  stacked,  ready 
to  be  loaded  into  a  picturesque  and  awkward 
cart  which  stands  beside  them.  The  left  side 
of  the  picture  is  dark  and  sober  in  color.  A 
shower  is  passing  by  and  the  dark  purple  gray 
of  the  rain  as  it  falls  from  the  clouds  is  mar- 
velously  realistic.  There  is  a  truth  about  the 
painting  of  this  shower  that  has  rarely  been 
attained  by  any  one.  You  can  see  the  passing 

5 


MILLET  of  the  clouds,  and  the  effect  of  movement  in 
the  falling  rain  is  remarkable.  You  almost 
hear  it  roar  as  it  pelts  upon  the  ground,  and  feel 
the  balmy  breeze  blowing  across  the  plain. 
The  right  distance  is  flooded  with  rich  golden 
sunlight  which,  seen  through  the  pelting  rain, is 
glorious  in  its  glowing.  The  horizon  stretches 
out  into  infinitude,  a  horizon  in  which  you  feel 
the  roundness  of  the  earth.  Its  wondrous  beau- 
ty creates  an  indescribable  feeling  of  longing, 
the  sensation  felt  when  looking  at  such  a  sky 
in  nature.  Against  this  wonderful  horizon  a 
group  of  peasants  is  dimly  seen.  They  are 
back  a  short  distance  from  the  group  in  the 
foreground  and  are  digging  potatoes;  near  them 
is  a  woman  picking  them  up.  The  intentness 
with  which  they  do  their  work,  the  seriousness 
of  the  entire  picture,  show  the  devotedness  with 
which  this  master  painted  the  conditions  of 
peasant  life,  just  as  he  found  them. 

What  glorious  colors !  They  come  from  the 
twilight  of  the  soul,  those  sympathetic,  uni- 
versal chords  that  emanated  from  Millet's  har- 
monious nature.  It  is  a  coloring  that  is  found 
in  no  other  artist's  work  and  that  goes  deeply 
into  one's  sympathies  and  there  abides.  You 
can  never  get  away  from  the  tones  Millet  in- 
troduced into  his  paintings.  They  are  vital ; 
they  were  born  of  a  deep,  sensitive  soul  that 
had  but  one  thought,  the  realization  of  the 
work  he  had  set  out  to  accomplish. 

Now  let  us  look  at  another  wonderful  ex- 
ample of  his  art,  the  -Breaking  Flax."  This 
woman  with  her  back  turned  toward  you  is 
stooping  over  a  strange  looking  device  with 
which  flax  is  broken.  She  is  dressed  in  light 
blue  homespun  and  as  she  bends,  the  drapery, 
striking  the  salient  points  of  her  figure,  lends 
itself  to  the  lines  of  her  form  and  reveals  its 
6 


beauty,  a  robust  beauty  that  belongs  to  rustic 
life.  It  has  a  charm  like  that  of  a  flower  of  the 
field  compared  to  the  cultured  ones  of  the  hot- 
house, and  is  none  the  less  beautiful  because 
of  its  humbleness.  The  elements  of  this  little 
painting  are  so  simple,  so  quiet,  that  many  pass 
it  by,  failing  to  at  once  see  its  charm;  in  doing 
so  they  lose  one  of  the  delights  of  the  collec- 
tion. There  is  something  so  wonderful  about 
it.  In  the  first  place,  the  realization  of  form  in 
this  picture  is  as  fine  as  Millet,  or  any  other 
painter, ever  executed.  It  is  genuine,  solid  flesh 
and  bone  that  is  in  its  way  worthy  of  Michael 
Angelo.  There  is  the  same  intentness  on  what 
is  being  done  that  you  always  find  in  Millet's 
peasants.  They  need  no  explanation;  they 
speak  for  themselves.  The  background  is  dark, 
transparent  and  olive  in  tone.  There  are  no 
bright  colors  nor  anything  on  which  the  eye 
can  satisfy  the  decorative  sense.  But  instead 
there  is  a  subtle  beauty  that  is  so  wonderful 
that  you  can  always  come  to  it  and  linger.  This 
is  great  art.  It  touches  the  soul  and^at  the  same 
time  gratifies  the  artistic  sense.  On  these 
qualities  this  picture  rests  its  claim.  It  is  a 
beautiful  example  of  the  power  of  a  man  who 
possessed  deep  feeling  and  the  capacity  for 
expressing  himself  beautifully  and  in  perfect 
harmony  with  nature. 

IHEODORE  ROUS- 
ISEA  U  *%£  No  artist  ever 
delveddeeperintothepro- 
found  mysteries  of  nature 
than  Rousseau.  There 
was  something  deeply  se- 
rious and  sensitive  in  his 
isoul  which  made  him  a  fit 
instrument  for  the  render- 
ing of  those  grand  melan- 
7 


MILLET 


"Do  you  know  that  they 
are  terrible,  Millet  and 
Rousseau?     They  are 
like  rocks;    their  ideas 
are  immovable.     They 
are  just  like  two  fakirs, 
and  nothing  can  make 
them  modify  one 
of  their  opinions." 
Thore 


ROUSSEAU 


"One  can  see  that 
nature  spoke  very  di- 
rectly to  you,  and  that 
you  saw  with  your 
own  eyes.     It  is  yours 
and  not  some  other's." 
From  a  letter  to 
Rousseau  from  Millet 


No.  103 

"LE  GIVRE— 
WINTER  SOLITUDE' 


choly  harmonies  of  her  more  dramatic  side. 
The  struggles  through  which  he  passed  turned 
his  sympathies  toward  the  solitude  of  nature. 
Here  alone  he  found  solace.  The  subjective 
beauty  and  character  of  deep  shadowy  land- 
scapes studded  with  trees  never  had  a  more 
serious  interpreter.  The  gathering  gloom  of 
evening,  the  velvety  shadows  of  massive  oaks, 
the  glorious  coloring  of  sunset,  all  found  in  him 
a  master  who  was  not  content  with  a  passing 
glance  but  entered  deeply  into  the  spirit  of  it 
all.  But  he  was  combated  by  the  artists  of  his 
day,  save  the  few  kindred  souls  who  dared  to 
express  that  which  they  felt.  Two  especially 
true  ones  were  Dupre  and  Millet.  Dupre 
forced  the  dealers  to  a  recognition  of  Rous- 
seau's merits,  and  Rousseau,  when  fortune 
smiled  just  a  little,  turned  to  poor  Millet  and 
out  of  his  scanty  means  bought  some  of  his 
pictures,  pretending  they  were  for  an  Ameri- 
can collector.  In  the  forest  of  Fontainebleau, 
whose  primitive  grandeur  has  never  been  dis- 
turbed by  the  ravages  of  modern  civilization, 
Rousseau  drew  his  inspiration  from  the  eter- 
nal source  of  beauty.  At  times,  while  under  the 
influence  of  some  powerful  mood,  he  reached 
a  climax  in  his  work,  a  dramatic  expression 
that  is  unparalleled  in  art.  Strange  as  it  may 
seem,  his  native  countryfailed  to  recognize  his 
greatness  untilother  nations  had  paid  himtrib- 
ute.  By  the  power  of  his  genius  he  finally  tri- 
umphed, but  the  neglect  he  had  suffered  left 
its  sting,  and  at  last,  broken  in  spirit,  the  great 
soul  took  its  flight. 

This  collection  is  rich  in  his  works,  as  it  con- 
tainsthe  grandest  product  of  his  genius, "Win- 
ter Solitude,"  a  landscape  that  stands  alone, 
unsurpassed  in  any  age  or  epoch  of  art.  What 
a  strange  picture!  with  its  weird  color — some- 
8 


thing  so  different  from  anything  you  ever  saw 
before.  It  has  a  curious  effect  on  you.  You 
think  of  Liszt's  arrangement  of  the  "Erl  King;" 
such  a  strange,  greenish  -whitish  gray,  such  in- 
describable coloring. 

A  simple  plain,  slightly  undulating  toward 
the  front  of  the  picture.  There  are  patches  of 
half  melted  snow,  with  here  and  there  some 
tufts  of  grass  and  weeds,  and  earth  and  rocks 
creeping  out.  The  sky  is  heavy  with  leaden 
gray  clouds  stretching  away  into  space.  Near 
the  horizon  a  shaft  of  sunlight  tears  its  way 
through  the  cloudsandlights  their  ragged  edges 
with  gold  and  red.  This  bit  of  light  is  so  real 
that  you  can  almost  see  it  changing  from  gold 
to  vermilion.  You  feel  that  if  you  wait  a  mo- 
ment it  will  change  to  crimson  and  then  grad- 
ually fade  away  until  only  the  faintest  traces 
of  color  can  beseen;  as  awave  of  melodypasses 
farther  and  farther  away  until  the  sound  dies 
into  perfect  stillness.  This  light  does  not  touch 
any  part  of  the  landscape,  but  the  whole  earth 
is  shrouded  with  a  strong  greenish  tone  of  such 
indescribable  color  that  you  can  not  think  of 
anything  with  which  to  compare  it,  unless  it  is 
the  dull  greenish  phosphorescent  light  of  the 
glow-worm.  It  is  a  picture  that  you  feel  you 
can  not  coolly  analyze.  Its  existence  is  the  re- 
sult of  a  mood,  an  influence  that  the  artist  was 
trying  to  rid  himself  of.  He  had  made  a  prom- 
ise, to  another  artist,  that  disturbed  him.  Feel- 
ing that  he  must  get  away  from  its  influence, 
he  took  a  canvas  and  painted  this  wonderful 
picture  in  just  eight  days.  That  he  saw  what 
he  painted  no  one  will  doubt.  That  those  gray 
clouds  did  cover  the  sky  and  that  the  light  did 
break  through  with  its  bright  hopeful  color,  is 
true,  yet  you  feel  that  he  put  into  the  picture 
those  emotions  that  were  constantly  pressing 

9 


ROUSSEAU 

"This  admirable  picture 
was  but  another  sad 
trial  in  Rousseau's 
life.     No  one  desired 
this  pathetic  drama.     It 
required  twenty  years 
to  make  it  understood." 
Alfred  Sensier 


ROUSSEAU 


No.  93 

"EARLY  SUMMER 
AFTERNOON" 

"The  grand  aspect  of 

landscape  and  its 

tenderness  are  equally 

familiar  to  him.     He 

renders  with  the  same 

mastery  the  smile  of 

creation  and  its  terrors." 

Wolff 


his  inmost  nature  and  demanding  an  expres- 
sion. Under  these  conditions  he  painted  one 
of  the  saddest  yet  one  of  the  most  beautiful 
picturesthat  ever  came  from  the  geniusof  man, 
and  thus  the  vital  forces  of  Rousseau's  great 
nature  made  an  imprint  on  canvas  that  will 
live  as  long  as  man  is  sensitive  to  beauty  and 
the  human  heart  can  feel. 

An  entirely  different  phase  of  Rousseau's  art 
is  shown  in  the  "Early  Summer  Afternoon." 
It  is  nature,  beautiful  and  supreme.  A  feeling 
of  calmness  steals  over  you  as  you  gaze  on  it, 
and  there  is  a  sense  of  silence  that  you  feel  is 
only  broken  by  the  twittering  of  birds  or  the 
droning  of  insects.  It  is  a  joyous,  cheerful 
picture,  full  of  hope  and  promise.  Here  is 
painted  the  real  velvety  texture  of  trees  in 
luxuriant  foliage,  a  foliage  full  of  rich,  juicy 
sap  and  so  luminous  as  it  receives  the  warm 
summer  sun  bath  that  it  seems  to  refract  both 
color  and  heat.  A  shower  has  just  passed;  ev- 
erything is  bathed  in  a  warm  light.  You  scent 
the  spicy  verdure,  you  almost  feel  the  deep  cool 
shadows  and  hear  the  varied  sounds  that  ex- 
press the  gladness  of  nature.  All  seem  to  join 
in  one  grand  chorus  that  finds  an  echo  in  the 
colors  with  which  nature  is  clothed.  The  up- 
per sky  is  of  a  soft  tender  gray  which  merges 
into  beautiful  pure  blue.  The  lower  part  is  lu- 
minous with  a  light  through  which  cumulous 
clouds  drift.  On  the  right  is  a  grove  of  mag- 
nificent oaks;  their  broad,  friendly  branches, 
reachingout,  are  freighted  withmassesof  green 
foliage.  These  oaks  are  studied  with  a  truth 
that  is  refreshing  in  these  days  when  a  smudge 
of  green  and  a  splash  of  violet  pass  for  trees. 
They  are  real  living  monarchs  of  the  forest  that 
have  withstood  the  storms  of  centuries.  To 
Rousseau's  serious  nature  all  life  had  apurpose, 
10 


a  meaning.  Nature  was  something  to  look  up 
to  and  he  was  responsible  for  the  report  he  gave 
of  her.  On  a  point  of  land  extending  out  into 
the  river  a  glimpse  is  caught  of  the  red  roof  of 
a  cottage  imbedded  in  a  dark  mass  of  foliage. 
There  is  so  much  beauty  in  the  mysterious, 
shadowy,  uncertain  way  in  which  it  is  painted 
that  it  sets  the  imagination  to  work.  You  would 
like  to  know  more  of  the  place.  From  a  land- 
ing near  the  cottage  a  man  is  seen  in  a  boat, 
pushing  out  into  the  stream.  The  water  which 
makes  up  the  larger  part  of  the  picture  extends 
into  the  foreground  and  is  wonderfully  paint- 
ed. It  lies  like  a  mirror,  reflecting  trees,  sky 
and  all  charmingly.  This  is  one  of  Rousseau's 
best  pictures,  painted  in  a  joyous  mood,yet  pos- 
sessing all  the  serious  qualities  that  distin- 
guish his  art.  It  is  distinct,  and  very  different 
from  the  "Winter  Solitude,"  which  was  the  re- 
sult of  asublime  inspiration,  grand  and  terrible 
in  its  expression,  while  the  "Summer  After- 
noon" is  the  direct  opposite.  It  is  calm,  peace- 
ful; filled  with  repose  and  contentment. 

BAN  BAPTISTE  CA- 
MILLE  COROT^JC^C 
One  of  the  most  beautiful 
characters  among  the 
revolutionists  of  iSsowas 
Corot,  a  man  of  marvel- 
ous gifts.  Thoroughly 
saturated  with  a  love  for 
art,  he  abandoned  the 
mercantile  business,  for 
which  he  was  unfitted,  and  entered  the  studio 
of  Victor  Bertin,  a  painter  of  classic  landscapes 
wherein  nature  was  carefully  revised  to  suit 
the  requirements  of  so-called  true  art.  But  en- 
dowed with  a  positive  and  original  genius,  with 
an  intense  love  of  nature  and  a  sensitiveness 

ii 


ROUSSEAU 


"He  emancipated  the 
landscape  painters 
as  Moses  liberated  the 
Hebrews.  *  *  The  young 
landscapists  forced 
an  entrance  to  the  Salon, 
and  it  was  Theodore 
Rousseau  who  broke 
down  the  door.     He  led 
them  into  a  land  of 
promise,  where  the  trees 
had  leaves,  where 
the  rivers  were  liquid, 
where  the  men  and 
animals  were  not 
of  wood." 

Edmond  About 


COROT 


'I  dream  my  pictures; 

later,  I  shall  paint 

my  dreams." 

Corot 


"To  surprise  nature,  to 

express  it  on  the  wing 

amid  the  eternal 

movement  of  things,  and 

to  that  end  confine 

himself  to  leading  traits; 

to  insist  on  these  and 

sacrifice  the  rest — 

this  is  Corot." 

Rousseau 


to  her  more  delicate  beauty,  Corot  was  not  the 
kind  of  man  out  of  whom  Bertin  could  con- 
struct a  painter.  Returning  from  a  trip  to  Italy, 
he  found  the  great  artistic  revolution  well  on. 
Joining  forces  with  the  band  of  artists  clus- 
tered around  Barbizon,  Corot  went  directly  to 
the  fields,  giving  up  his  enthusiastic  nature  en- 
tirely to  her  wondrous  charms  and  reveling  in 
her  joyousness.  Thus  he  began  to  develop  the 
art  that  was  to  be  the  delight  of  future  gener- 
ations. One  by  one  nature  unfolded  to  him 
beauties  that  through  his  interpretation  have 
given  humanity  these  poems  of  life,  light,  and 
joyousness.  Without  regard  for  external  cir- 
cumstances or  conditions,  with  never  failing 
enthusiasm, earnestness  andenergy,he  worked 
always  with  the  same  careful  self-examination, 
striving  to  reach  his  ideal.  Happy  and  joyous 
in  childhood,  old  age  found  him  singing  the 
same  gladsome  songs.  In  his  heart  there  was 
no  dross,  no  envy  nor  guile;  only  the  purest 
gold  was  there.  Life  to  him  was  but  a  devel- 
opment. All  nature  was  grand,  and  revealed 
to  him  her  most  poetic  side.  To  surprise  her 
and  catch  her  tender  vibrating  harmonies,  to 
express  them  with  a  spirit  jubilant  with  glad- 
ness, was  his  supreme  gift.  Like  the  dawning 
of  the  glorious  mornings  which  he  loved  to 
paint  was  the  coming  of  his  art,  a  revelation 
of  light  and  airiness.  Serene,  calm  and  joyous, 
he  painted  the  beauty  about  him  with  deep  de- 
votion to  nature,  to  whom  he  was  thoroughly 
attuned.  It  is  said  of  him  that  his  art  was  a 
window  open  to  nature.  The  essence  of  it  was 
to  express  hergladness.  As  joyous  as  the  songs 
of  birds,  as  light  and  airy  as  the  gossamer,  with 
all  the  beauty  that  is  found  amid  fields  and 
flowers,  his  pictures  came  on  the  art  world  like 
a  ray  of  sunshine  falling  in  some  dark,  dingy 

12 


place  from  whence  all  light  had  been  carefully 
excluded.  After  years  of  struggle,  always  min- 
gled on  his  part  with  songs  and  joyousness, 
Paris  awoke  to  the  knowledge  of  his  greatness. 
The  reaction  was  the  extreme  opposite  to  the 
neglect  of  years.  Fortune  smiled  on  him  almost 
too  freely.  With  loving  hands  this  great  gen- 
erous soul  dealt  out  to  his  less  fortunate  broth- 
ers in  art  the  gold  for  which  he  cared  little. 
Offended  by  the  neglect  of  this  great  genius, 
his  companions  had  awarded  him  a  medal,  giv- 
ing him  the  name  of  "Father"  Corot.  He  in 
return,  from  the  fullness  of  his  heart,  called 
them  "his  children."  His  love  was  broad  and 
universal,  as  his  pictures  show;  they  but  reflect 
the  beauty  of  his  own  nature.  M.  Wolff  said 
of  him,  "His  grand  passion  outside  of  art  was 
music.  On  Sunday  he  could  always  be  seen  at 
the  popular  concerts — thoughtful,  softened — 
touched  sometimes  to  tears  when  they  played 
an  adagio  of  Mozart,  his  favorite  master,  the 
brother  soul  of  the  grand  artist,  who  was  him- 
self the  Mozart  of  painting."  At  the  announce- 
ment of  his  death,  Dupre  exclaimed,  "It  will 
be  hard  to  fill  the  place  of  the  painter;  it  will 
be  impossible  to  fill  the  place  of  the  man." 

In  this  collection  is  "The  Martyrdom  of  St. 
Sebastian, "one  of  Corot's  most  celebrated  pict- 
ures. It  is  painted  on  a  large  canvas,  upright 
in  shape.  To  the  right  is  a  group  of  large  trees 
full  of  rich,  dark,  somber  greens,  much  darker 
than  this  painter  usually  affects.  Underneath 
and  between  the  trunks  of  the  trees  you  get  a 
glimpse  of  banks  of  earth  of  a  rich,  brownish 
color.  On  the  left  are  three  or  four  tall  and 
slender  trees;  so  delicately  painted,  so  tenderly 
touched  with  that  tremulous,  quivering  move- 
ment that  only  Corot  could  get.  Their  slender 
branches  reach  up  and  across  the  top  of  the 

13 


COROT 


No.  13 

"THE  MARTYRDOM 
OF  ST.  SEBASTIAN" 


"Water,  which  he 

loves  next  to  light, 

glimmers  and  sparkles 

under  its  rays.  Shadows 

and  reflections  are  alive 

with  it.     The  densest 

vegetation  opens  before 

it.     Every-where  light 

penetrates  without  a 

reminder  of  either 

brush  or  pigment.  Corot 

is  the  painter  of  air." 

Jarves 


COROT^  canvas,  forming  an  arch  with  the  tope  of  the 
trees  on  the  other  side.  Nothing  could  be  more 
beautiful  than  this  group  of  trees  and  their  del- 
icate treatment,  coming  up  so  gently  against 
the  sky.  Between  the  two  groups  of  trees  is  a 
patch  of  warm,  tender,  creamy  light.  The  fore- 
ground is  bathed  in  deep,  mysterious  shadows, 
wonderful  in  their  depth  and  richness  of  color. 
Lying  on  the  ground,  in  the  center  of  the  pic- 
ture, is  the  form  of  St.  Sebastian,  with  two 
women  stooping  over  him  and  drawing  the 
arrows  from  his  wounds.  Just  over  them  and 
near  the  top  of  the  picture  are  two  angels  de- 
scending, bearing  in  their  hands  a  wreath  and 
a  crown.  These  are  the  elements  of  this  great 
picture. 

Why  any  one  like  Corot  should  want  to  in- 
troduce this  tragedy  into  the  beautiful  picture 
is  a  mystery  to  me,  but  as  a  landscape  it  is  one 
of  the  masterpieces  of  modern  art.  The  whole 
feeling  of  the  canvas  is  so  somber  and  grand 
in  sentiment  that  you  are  completely  carried 
away.  There  is  something  in  it  so  deep,  so 
beautiful,  that  you  never  think  of  St.  Sebastian 
and  his  suffering,  but  feel  rather  the  grandeur 
and  reality  of  a  wonderful  vision  of  nature  in 
one  of  her  finest  moods.  The  painting  of  the 
two  angels  surpasses  anything  of  the  kind  I 
have  ever  seen.  You  feel  that  they  are  really 
denizens  of  the  air.  The  somber  tones  of  the 
picture,  dull  green,  brown,  purple  brown,  sil- 
very gray,  are  pitched  in  a  key  that  takes  hold 
of  you  and  lingers  always  in  the  memory.  You 
can  not  forget,  because  it  becomes  a  part  of 
you.  That  is  one  of  the  qualities  of  good  pict- 
ures like  this;  though  you  never  see  them  again 
they  still  cling  to  you.  They  come  into  your  na- 
ture and  lift  you  up.  And  thus  the  artist  be- 
comes a  factor  in  the  civilization  of  his  time. 

14 


"The  Fisherman's  Cottage"  is  a  little  picture 
which  contains  all  the  gladness  of  Corot's 
art.  It  is  painted  in  his  lightest  and  most  po- 
etic manner  and  possesses  all  those  qualities 
which  make  his  art  supreme  in  its  way.  It  is 
dream-like,  full  of  delicate  refinement,  rich  yet 
chaste  in  color.  Filled  with  the  tenderest  of 
sentiment,  fairly  shimmering  in  brightness  of 
light,it  is  charming  in  its  simplicityand  beauty. 
On  the  left  of  the  canvas  are  some  trees  whose 
leaves  and  slender  branches  quiver  against  the 
sky.  They  are  beautifully  painted,  with  that 
wonderful  tremulous  movement  which  was  a 
distinct  characteristic  of  Corot.  In  the  far  dis- 
tance you  catch  a  glimpse  of  the  sea,  calm  and 
blue  in  color.  Crowning  a  little  rise  of  ground 
is  a  fisherman's  cottage  whose  white  wall  is  in 
sunlight,  giving  an  accented  touch  that  con- 
trasts beautifully  against  the  blue  of  the  sea. 
Near  it  the  masts  of  a  small  boat  rise  up  against 
the  horizon.  Extending  down  to  the  fore- 
ground is  a  flat  plain  with  slight  patches  of 
weeds  and  sand.  House,  masts  and  beach, 
are  all  bathed  in  a  dazzling  sunlight  that  almost 
dances  and  quivers  as  you  gaze  at  it.  The  en- 
tire picture  is  pitched  in  a  high  key  and  has 
the  essence  of  Corot's  best  art  expressed  in  his 
most  poetic  manner.  Silvery  in  color,  delicate- 
ly painted,  dreamy  but  happy  in  sentiment, 
it  is  one  of  the  most  delightful  of  his  pictures. 
The  sky  is  charmingly  painted,  wonderful  in 
its  light  and  rendered  with  all  the  marvelous 
atmosphere  that  was  his  delight. 

"The  Evening  Star"  is  a  picture  of  rare 
beauty.  A  clear  sky  full  of  bright,  glowing, 
pale  yellowish  color  shades  down  to  a  horizon 
full  of  mystery  which  merges  into  the  low  hills 
that  form  the  distance.  Against  this  is  a  group 
of  trees  and  houses  of  great  depth  of  color; 

15 


COROT 

No.  159 

"THE  FISHERMAN'S 
COTTAGE" 


No.  26 

'THE  EVENING 
STAR" 


COROT 


"Alfred  de  Musset,  in 

the  Revue  des  Deux 

Mondes,  noticed  (?)  to 

this  extent — 'Corot, 

whose  "Campagna  de 

Rome"  finds  admirers.' 

That  was  all,  but 

Corot,  to  whom,  at  the 

age  of  forty,  this  was 

the  first  very  small 

taste  of  success,  was 

elated  and  grateful  that 

his  name  should  even 

have  been  written  by  so 

great  a  poet,  and 

painted  a  picture  at 

once  on  the  subject  of 

De  Mussel's  stanzas  to 

the  'Evening  Star.'  " 

From  Mollett's 

"Corot,  Daubigny  and 

Dupre" 


No.  56 

'VERY  EARLY 
SPRING" 


sharply  cut  and  strongly  defined.  In  the  cen- 
ter of  the  picture  is  a  stream.  Along  its  bank 
a  shepherd  drives  home  his  flock,  and  in  the 
near  foreground  weeds  and  grasses  grow  along 
the  water's  edge.  A  snag  of  a  dead  tree,  dark 
and  sharp  against  the  sky,  leans  across  toward 
the  right.  Against  this  tree  a  woman  is  seen 
with  upturned  face  and  arms.  High  up  in  the 
luminous,  glowing  sky  is  a  single  star  which  is 
reflected  in  the  water.  In  this  picture  the  sen- 
timent of  evening  is  beautifully  expressed  in 
colors  rich  and  clear.  There  is  a  sense  of  still- 
ness that  is  a  triumph  in  itself;  you  can  almost 
hear  yourself  thinking  as  you  penetrate  its 
depth.  In  the  first  glance  at  this  canvas,  one 
is  liable  to  view  it  carelessly,  so  accustomed 
are  we  to  the  more  poetic  or  generalized  treat- 
ment of  nature  that  is  the  essence  of  Corot's 
art.  The  handling  of  the  picture  shows  that 
Corot  could  and  did  paint  with  precision  and 
sharpness  when  nature  appealed  to  him  in 
that  way.  The  quick  incisive  touch  with 
which  it  is  painted  strikes  you  as  being  a  little 
hard  as  compared  with  his  usual  manner,  but 
you  return,  and  it  weaves  a  web  about  you 
whose  spell  can  never  be  broken.  When  you 
come  under  the  influence  of  the  twilight  hour, 
when  a  death-like  mystery  seems  to  hover  over 
the  entire  world,  then  will  the  memory  of  this 
picture  arise  and  you  will  see  this  dead  and 
leafless  tree  leaning  against  the  sky,  and  the 
form  of  the  woman  with  upturned  face  and 
outstretched  hands,  as  if  imploring  the  Gods. 
"Very  Early  Spring,"  the  season  when  the 
buds  are  just  bursting,  the  time  when  every- 
thing takes  on  a  wonderful,  delicate  sentiment, 
Corot  has  rendered  here  with  all  the  refine- 
ment that  was  characteristic  of  his  nature.  On 
the  left  of  the  picture  a  picturesque  row  of  wil- 
16 


lows,  whose  tops  have  been  cut  out,  stretch 
away  into  the  perspective.  On  the  right  is  a 
long  line  of  slender  poplars  whose  forms  are 
in  graceful  contrast  to  the  bunchy,  ragged 
sproutings  of  the  willows.  The  delicate  ten- 
der coloring  of  early  spring  is  charmingly  felt 
in  both.  Between  the  rows  of  trees  a  pathway 
extends  into  the  distance.  Coming  down  it  are 
a  man  and  a  woman  with  a  child.  The  limbs 
of  the  trees  fall  daintily  across  the  upper  part 
of  the  picture,  crossing  the  sky  with  their 
delicate  leafage  in  the  most  beautiful  manner. 
The  atmosphere,  always  one  of  Corot's  strong 
points,  is  here  rendered  with  especial  charm. 
So  masterly  is  his  skill  that  it  seems  as  though 
one  might  walk  around  and  amongskevery  one 
of  the  trees.  Tenderness  and  refinement  are 
the  qualities  of  this  little  picture,  with  the  sense 
of  joy  and  promise  of  the  coming  season  beau- 
tifully and  poetically  expressed.  It  is  a  charm- 
ing example  of  Corot's  art. 

CONSTANT  TROYON 
i  There  is  something  in  the 
(very  name  of  Constant 
iTroyon  that  is  suggestive 
iof  gentleness  and  refine- 
'ment.  It  is  doubtful  if  any 
[one  ever  painted  cattle 
;with  a  more  tender  love 
than  he.  There  is  a  calm 
[repose,  a  peacefulness,  a 
certain  largeness  that  is  the  height  of  truth. 
Troyon  was  a  poet,  and  gave  a  poetical  inter- 
pretation of  them;  not  poetry  of  a  vague  uncer- 
tain kind,  but  solid  throughout.  There  is  some- 
thing about  his  cattle  which  appeals  to  all 
classes;  they  are  indeed  of  the  field.  Like  Diaz 
and  Dupre,  he  started  his  career  as  a  porce- 
lain painter,following  it  until  the  age  of  twenty- 

17 


COROT 


"Like  all  true  artists, 
Corot  assimilates  all  he 
sees  to  his  inward 
dream,  and  the  varied 
aspects  of  nature 
uniformly  appear 
to  him  under  the  same 
poetic  vision." 

Ren£  Menard 


TROYON 


"Fancy  the  astonish- 
-     ment  at  the  sight  of 
Troyon's  animals, 
with  their  large  life,  and 
their  broad  brush-work 
in  deep,  pure  colors, 
studied  with  a  discrim- 
inating sympathy  for 
every  race  and  species, 
and  moving  through 
landscapes  of  a 
master's  creation. 
These  were  not  the 
fashionable  stuffed 
beasts,  but  living,  mov- 
ing herds,  stretching 
themselves  luxuriously 
in  the  sun,  breathing 
the  breezes  cool 
with  morning,  or  hud- 
dling close  together 
at  the  approach  of 
the  storm." 
Wolff 


No.  58 
"CATTLE  DRINKING' 


seven,  when  he  began  his  struggle  as  an  artist. 
He  worked  incessantly  from  nature,  devoting 
his  time  to  painting  landscape.  He  would  work 
at  his  landscapes  until  his  scanty  means  were 
exhausted,  then  repair  to  some  pottery,  and 
labor  there  until  his  accumulation  would  en- 
able him  to  go  to  nature  again.  This  period  of 
his  life  was  full  of  struggles  and  disappoint- 
ments. A  visit  to  Holland  at  this  time  gave 
him  new  inspiration,  and  he  began  the  serious 
study  of  cattle  as  he  found  them  in  field  and 
meadow.  This  was  the  turning  point  in  Tro- 
yon's life,  one  that  gave  the  world  one  of  the 
greatest  painters  in  this  field  that  has  ever 
lived.  Howbeautifullyand  with  what  awkward 
gracefulness  are  his  cows  painted,  as  they 
graze  amid  sunny  fields  or  lazily  stand  in  water 
while  quenching  their  thirst,  or  as  they  amble 
homeward  at  evening-time.  There  never  was 
a  truer  interpretation  of  the  poetry,  the  pas- 
toral beauty  and  the  motion  of  this  picturesque 
animal.  Like  the  peasants  of  Millet,  his  cows 
fit  their  surroundings.  They  belong  to  the 
landscape  in  a  way  that  preserves  the  true 
harmony  and  relationship  of  nature.  Although 
he  was  finally  rewarded  with  success,  Troyon 
was  very  much  embittered  by  the  early  strug- 
gle and  neglect  which  saddened  his  youth. 
Late  in  life,  with  the  memories  of  this  period 
pressing  on  him,  he  conceived  a  plan  whereby 
a  medal  bearing  his  name  should  be  awarded 
in  competition  to  the  most  successful  young 
animal  painter  in  the  Paris  schools,  a  reward 
assuring  the  winner  the  advantages  of  unin- 
terrupted study  for  a  period  of  years. 

The  coloring  of  Troyon  is  as  beautiful  as  his 

drawing  and  composition,  refined  and  of  a 

high  order.   They  merge  into  each  other  with 

poetic  feeling.   There  are  two  beautiful  paint- 

18 


ings  by  him  in  this  collection,  one,  the  "Cat-  TROYON 
tie  Drinking,"  being  one  of  the  One  Hundred 
Masterpieces  of  French  art,  selected  and  ex- 
hibited in  Paris  in  1883,  an  exhibit  unparal- 
leled in  the  annals  of  art.  It  is  a  wonderful 
little  canvas,  so  full  of  life,  so  tender  in  its  color, 
so  simply  painted;  with  such  love,  with  so 
much  sympathy,  with  such  a  hopeful  spirit 
that  you  would  linger  with  it  always  and  never 
tire.  Here  you  have  a  picture  that  sings.  It 
is  a  dream  of  amber  light,  a  light  that  pervades 
everything;  even  the  deepest  shadows  are  yet 
a  part  of  the  light.  There  are  no  strong  con- 
trasts, no  violent  juxtapositions  of  color,  but 
rather  a  tender  merging  of  one  tone  into  an- 
other like  a  wonderfully  executed  chromatic 
scale  played  on  the  'cello.  One  can  not  help 
a  feeling  of  love  for  the  man  who  could  paint 
such  a  picture.  That  he  must  have  been  a  beau- 
tiful spirit,  the  picture  proves;  it  is  evident 
that  he  had  the  deepest  reverence  for  nature, 
and  you  feel  that  he  knew  and  loved  the  tender 
relations  of  the  elements  of  the  nature  about 
him.  Like  the  great  soul  that  he  must  have 
been,  he  went  to  mother  nature  as  a  little  child; 
breathing  in  her  inspirations,  he  placed  upon 
his  canvas  the  tenderest  emanations  that  could 
come  from  any  one. 

The  composition  is  very  simple.  The  pict- 
ure is  upright.  Rising  from  toward  you  and 
flowing  to  the  right  is  a  little  stream.  Back  of 
the  foreground  stands  a  group  of  trees,  among 
which  the  stream  is  lost.  To  the  left  is  a  bit  of 
plain  running  off  into  the  distance.  You  are 
looking  away  from  the  light,  which  throws  a  . 
golden  amber  tone  over  everything.  The  very 
air  seems  to  be  filled  with  a  perfect  web  of 
gossamer  which  the  sun  catches  and  turns  in- 
to gleams  of  gold,  sending  out  vibration  after 


TROYON 


No.  37 
'REPOSE' 


vibration  of  strange  dreamy  light.  Standing  in 
the  water,  drinking,  is  a  group  of  cows  lighted 
with  this  wonderful  glow  and  painted  with 
the  same  simplicity  that  characterizes  the 
whole  picture.  Peace,  repose,  light  and  love 
are  breathed  into  every  touch  on  this  little  can- 
vas. Let  us  lay  this  triumph  of  human  genius 
away  carefully  in  memory's  store-house  and 
when  the  sky  becomes  leaden  and  gloom  hangs 
like  a  pall  over  everything,then  let  us  go  within 
ourselves  and  bring  out  this  little  dream  of 
hope  and  beauty.  When  that  which  seems 
dark  and  gloomy  shall  have  passed  away  and 
the  golden  light  of  this  little  picture  steals  into 
our  nature,  then  shall  we  bless  the  name  of 
Constant  Troyon. 

The  elements  of  the  picture  named  "Repose" 
are  so  simple  and  quiet  that  you  are  charmed 
by  its  restful  sentiment.  There  is  no  striving 
after  effect,  but  a  calm  and  serene  spirit  is 
breathed  throughout.  The  picture  as  a  whole 
is  dignified  and  poetical,  and  possesses  the 
largeness  of  nature  to  a  marked  degree.  You 
seem  to  be  looking  into  real  space.  The  same 
simplicity  is  found  in  the  coloring.  A  warm 
greenish  blue  tone,  charming  in  effect,  runs 
through  the  entire  canvas.  It  is  a  calm  sunny 
summer  day,  when  all  nature  seems  indolent. 
You  feel  its  spell  as  you  gaze  at  the  picture; 
you  can  almost  hear  the  droning  of  the  bees 
as  they  busily  ply  their  trade  of  culling  sweets. 
The  sky,  calm  and  serene,  with  scarcely  a 
cloud  to  mar  its  ethereal  blue,  is  beautiful  in 
the  extreme.  An  undulating  plain  stretches 
out  into  the  far-away  distance,  until  lost  in  the 
tender  atmosphere  hovering  there,  and  the 
whole  scene  is  bathed  in  a  glow  of  summer 
sunlight.  To  the  left  is  a  body  of  water  whose 
surface  lies  calm  and  unbroken.  Near  the 
20 


edge  a  number  of  cows  are  seen  lying  on  the 
ground,  a  white  cow  standing  being  the  prin- 
cipal interest  of  the  nearest  group.  The  paint- 
ing of  these  cows  is  so  simple,  so  refined,  that 
the  group  is  a  vision  of  beauty.  Every  touch, 
every  color,  every  line  bespeaks  the  sentiment 
of  the  picture  expressed  in  the  title,  "Repose." 
It  is  a  dignified  and  noble  composition,  yet  as 
simple  as  could  be  imagined.  It  was  bought 
from  the  artist  before  fame  had  crowned  him, 
and  some  doubted  the  wisdom  of  the  purchase, 
but  the  prophecy  thus  made  as  to  the  artist's 
worth,  by  the  appreciation  of  the  simple  beau- 
ties of  this  work,  has  proven  the  wisdom  of  its 
owner.  Many  decades  will  come  and  go  ere 
another  shall  appear  who  can  paint  the  "low- 
ing kine  "  as  did  the  poet-painter  called  Con- 
stant Troyon. 

ULES  DUPRE^^C 
Jules  Dupre  was  the  first 
to  attack  the  traditions  of 
the  past  in  landscape 
painting,  which  at  the 
time  of  his  coming  was 
reduced  to  so  low  an  ebb 
that  it  was  scarcely  rec- 
ognized as  an  art.  Those 
whoessayedtopaintsuch 
subjects  simply  produced  grotesque  imitations 
of  Poussin.  The  artist,  shut  within  the  four 
walls  of  his  studio,  knew  nothing  of  the  great 
throbbing,  sympathetic  world  of  nature.  At 
this  time  came  Dupre  without  the  traditions 
or  dogmas  of  any  school  clinging  to  him.  Of 
his  youth  M.  Wolff  says,  "It  was  in  the  con- 
templation of  nature,  in  his  desolation  amidst 
her  influences,  that  the  mind  of  the  lad  was 
opened  to  her  beauty  and  that  her  mysteries 
were  sounded.  Thus  was  the  nature  of  Dupre 

21 


TROYON 


He  had  a  more 
poetic  mind  than 
any  other  artist  of  the 
same  class,  and  the 
poetry  of  the  fields  has 
never  been  more 
feelingly  interpreted 
than  by  him." 

Hamerton 


DUPRE 


"The  young  generation, 
who  did  not  see  the 
splendid  putting 
forth  of  art  which 
followed  the  revolution 
of  July,  is  astonished 
before  the  pictures 
of  Jules  £>upre;  by  this 
boldness,  this  zeal, 
and  this  brilliancy. 
We  are  not  accustomed 
to  these  superb  ex- 
tremes, to  this  excess 
of  strength,  to  this 
overflowing  of  power,  to 
these  full-faced 
struggles  with  nature." 
Theophile  Gautier 


developed  and  fitted  for  the  mission  of  his  life, 
the  turning  of  the  beautiful  art  of  landscape 
painting  from  the  vain  affectation  of  his  time  to 
the  soulful  contemplation  of  nature.  With  him 
came  this  new  thought,  that  it  would  be  a  good 
thing  to  produce  a  picture  entirely  in  the  pres- 
ence of  nature,  in  order  that  he  might  catch  the 
stamp  of  feeling  and  sincerity."  M.Wolff  again 
says,  "The  day  when  he  hit  upon  this  profes- 
sion of  faith,  Jules  Dupre  indicated  the  road  to 
follow;  he  was  the  pathfinder  of  modern  land- 
scape art."  Thus  thoroughly  trained  in  the 
great  school  of  nature,  with  an  emotional  soul 
which  was  like  an  ^Eolian  harp,  sensitive  to 
all  the  vibrations  that  come  from  a  contempla- 
tion of  her,  he  was  indeed  fitted  to  lead  in  the 
great  revolution  in  art,  whose  triumph  should 
be  the  glory  of  France  and  whose  light  should 
never  dim  as  the  ages  roll  by.  With  his  face 
ever  turned  to  nature,  with  a  communion  that 
led  him  deeply  into  her  mysteries,  Jules  Dupre 
fought  and  conquered  all  difficulties  that  clog- 
ged his  path,  never  ceasing  in  his  work  save  to 
help  those  great  menwhojoined  forces  with  him 
in  placing  the  art  of  painting  on  a  higher  and 
more  human  plane  than  it  had  ever  occupied 
before.  We  find  him  compelling  the  dealers  to 
recognize  Rousseau,  and  we  see  him  peddling 
among  the  amateurs  whom  he  knew  the  pict- 
ures of  the  despised  Millet,  thus  helping  this 
great  painter  in  his  struggles.  He  was  also  the 
discoverer  and  protector  of  Troyon.  Thus  Du- 
pre worked.  He  developed  not  only  his  own 
grand  powers,  but  those  of  the  men  about  him. 
His  art  is  strong,  independent  and  original. 
No  man  ever  painted  who  was  hampered  less 
by  his  materials.  The  emotions  of  his  soul  in 
the  presence  of  nature  dictated  the  way  and  all 
difficulties  succumbed  to  its  powers.  The  first 

22 


to  lead  in  the  revolution  of  1830,  and  followed 
by  a  perfect  galaxy  of  genius,  he  lived  to  see 
each  lay  aside  the  implements  of  his  art.  Corot, 
who  lovingly  had  called  him  "the  Beethoven 
of  landscape,"  passed  away,  tracing  with  his 
fingers  upon  the  wall  "the  most  beautiful  land- 
scapes he  had  ever  seen."  Daubigny  had  gone 
out  declaring  he  was  going  to  see  if  Corot  had 
found  any  new  subjects  to  paint  up  there.  Thus 
one  by  one  these  great  men  triumphed  and 
went  to  their  reward,  Dupre  alone  remaining. 
Surrounded  by  many  of  their  beautiful  works, 
he  loved  to  tell  the  story  of  their  struggles, 
their  sorrows,  and  their  love  for  one  another. 
As  he  started,  so  Dupre  left  painting,  with  the 
same  devotion  for  nature,  the  basis  of  his  art 
and  his  sole  inspiration.  Late  in  his  career  he 
became  enamored  of  the  sea,  and  with  an  ardor 
that  characterized  his  whole  life  he  painted  the 
vast  expanse  of  waters  with  an  originality  and 
power  that  places  his  name  high  among  the 
interpreters  of  her  grandeur.  The  great  emo- 
tional nature  he  possessed  seemed  to  blend 
with  the  moods  of  the  tireless  ocean  and  to  give 
him  a  strength  that  is  grand  and  serious  in  its 
expression. 

"The  Old  Oak"  is  a  small  canvas,  yet  full  of 
the  grandeur  and  the  largeness  of  nature.  In 
it  Dupre  has  presented  her  in  an  exalted  mood. 
The  sky  is  one  of  the  most  remarkable  ever 
painted.  Here  is  the  pure  ethereal  blue  with  all 
its  richness,  depth  and  beauty.  Across  this 
wonderful  sky  are  bits  of  clouds,  touched  by  a 
pale  golden  light  that  clings  as  though  it  would 
linger  always.  The  approaching  autumn,  the 
lateness  of  the  hour,  the  massing  of  the  shad- 
ows, make  a  composition  that  gave  full  sway 
to  the  marvelous  powers  of  the  artist  as  a  color- 
ist.  In  the  mid-distance  are  the  trees,  coming 

23 


DUPRE 


"Jules  Dupre  became, 
almost  from  his  debut, 
one  of  the  favorites 
in  public  opinion;  his 
farms,  his  cottages,  his 
old  oaks  on  the  borders 
of  pools  with  cows 
ruminating  about,  his 
plentiful  pastures 
where  horses  run  with 
flowing  manes,  his  mills 
which  profile  their 
silhouettes  on  a  stormy 
sky,  have  a  simple 
and  truthful  side  which 
captivates  all  the 
world." 

Rene  Menard 


No.  102 
'THE  OLD  OAK1 


DUPRE 


"The  day  when  Dupre 

should  open  his 

studio  without  a  thrill 

and  leave  it  without 

discouragement  he 

would  consider  that  he 

had  arrived  at  the  end 

of  what  he  could  do — 

and  he  would  be  right." 

Wolff 


against  the  sky  in  somber  purple,  russet  and 
russet  green,  and  in  whose  shadowy  masses 
you  see  but  dimly  a  peasant  cottage.  The  col- 
oring of  the  foreground  is  strong  and  rich  in  its 
purity.  Brown,  russet,  yellow,  violet,  deep 
blues,  with  dark  and  luscious  greens  make  up 
an  harmonious  whole  that  baffles  description. 
A  small  pool  of  water  from  which  some  cows 
are  drinking,  and  a  bit  of  clay  bank  on  which 
the  light  falls,  are  turned  into  burnished  gold. 
Starting  up  from  the  center  of  the  picture, 
and  leaning  slightly  to  one  side,  is  an  old  oak. 
Spreading  out  its  friendly  branches,  it  stands 
a  silent  sentinel  of  the  past.  Dupre's  wonderful 
charm  of  color  is  perhaps  displayed  in  this  pict- 
ure as  completely  as  in  anything  of  his  in  ex- 
istence. The  mystery  of  shadow,  the  wonder- 
ful lingering  light,  the  indistinctness  yet  great 
power  and  force  with  which  everything  is 
painted  make  it  a  picture  from  which  great 
inspiration  may  be  drawn. 

A  number  of  artists  met  together  were  com- 
paring the  merits  of  Rousseau  and  Dupr6.  It 
was  agreed  that  each  should  be  asked  to  paint  a 
picture  and  they  would  then  decide  who  pos- 
sessed the  greatest  power.  This  picture  was 
the  result.  Dupre  won  the  honor.  From  him 
dates  everything  that  finally  ripened  into  the 
greatest  school  of  landscape  painters  of  modern 
times — yes,  any  time — the  Barbizon  school. 
Linked  together  by  a  golden  thread,  these  men 
were  like  bees  that  fly  from  thistle  to  rose, 
gathering  the  pollen,  then  distributing  it  from 
one  to  the  other,  bringing  them  all  into  closer 
relationship.  Likewise  this  brotherhood  of 
painters,  sensitive  to  all  the  varied  moods  of 
nature,  touches  the  human  heart  and  brings 
lessons  from  the  fields,  "making  the  world 
more  akin." 
24 


"At  Sea"  is  charming  in  its  simplicity.  A 
strangely  beautiful  light  is  found  in  this  pict- 
ure that  is  of  itself  a  pleasure.  A  cool  greenish, 
amber  tone  pervades  everything;  the  light  is 
diffused,  and  there  is  nothing  that  suggests  the 
artificial.  The  clouds  are  piled  up  in  dome-like 
form  on  top  of  one  another.  Their  formation 
and  character  are  painted  with  a  power  rarely 
equaled.  They  are  lighted  with  the  glow  of  a 
dreamy,  lazy  summer  day.  At  the  top  of  the 
canvas  you  get  a  glimpse  of  ethereal  blue.  The 
line  of  water  forming  the  distance  is  bathed  in 
a  deep,  transparent,  shadowy  color  of  a  dark 
blue-greenish, inky  hue  wonderful  in  its  depths 
and  effect.  This  tone  shades  out  into  the  lighter 
tints  of  the  foreground  by  perfect  gradations, 
wherein  the  artist  has  reveled  in  coloring  that 
is  indescribably  beautiful.  Greenish,  whitish, 
yeasty  hues,  warm  and  semi-transparent,  vie 
with  each  other  for  supremacy.  In  the  center 
of  the  foreground  a  small  boat  in  full  sail  is 
painted  in  rich  brownish  tones.  In  fact  the 
tone  of  the  entire  picture  is  fine,  and  the  light 
is  painted  with  great  power.  In  this,  as  in  all 
of  Dupre's  canvases,  there  is  a  certain  strength 
that  came  from  a  strong  will  power  which  en- 
abled him  to  work  with  perfect  confidence, 
and  yet  with  a  sympathy  that  is  rare  and  beau- 
tiful. You  feel  the  balmy  breezes  as  they  chase 
one  another  across  the  mighty  deep;  you  sense 
the  fragrance  of  the  waters  as  they  roll  and  toss 
in  their  sportive  glee,  hopping,  skipping,  tum- 
bling, laughing,  moaning,  sobbing,  in  never 
ceasing  motion.  The  technique  of  the  picture 
is  wonderful.  The  skill  displayed  by  the  artist 
places  this  canvas  among  the  first  of  modern 
paintings. 

In  "Sunset  on  the  Coast"  Dupre  has  left  us 
the  grandeur  of  a  gorgeous  sunset  whose  sky 

25 


DUPRE 

No.  69 
"AT  SEA" 


No.  135 

"SUNSET— 

ON  THE  COAST' 


DUPRE  coloring  is  repeated  with  wondrous  charm  in 
the  tints  of  the  water.  A  simple  bit  of  sea-shore, 
a  small  boat  on  the  right  of  the  canvas  coming 
against  the  distance  with  fine  effect — the  set- 
ting sun,  seen  half  buried  in  clouds,  revels 
and  melts  in  a  lusciousness  of  color.  Torn, 
ragged  clouds  hang  in  the  upper  sky,  their 
edges  lighted  by  the  glow  of  the  dying  sun. 
Purple,  gold,  greenish  gray,  mingle  every- 
where. You  are  looking  out  over  the  vast 
ocean.  You  see  the  sun  slowly  sinking.  You 
are  transported  to  the  spot  and  feel  the  senti- 
ment of  evening  and  the  greatness  of  nature. 
It  is  indeed  filled  with  the  glory  of  a  departing 
day  whose  colors  mingle  in  a  beautiful  har- 
mony. 

NO.  121  «A  Bright  Day"  is  the  smallest  of  the  Dupres 

DAY  in  the  collection,  yet  not  the  least  important, 
for  in  this  small  frame  is  painted  all  the  large- 
ness of  the  outdoor  landscape.  It  is  indeed  a 
beautiful  transcript  of  nature  in  a  quiet,  pas- 
sive mood.  Against  a  pure  gray  sky,  broken  by 
lighter  tints,  luminous  and  silvery,  is  a  won- 
derful group  of  trees.  Beautifully  painted,  they 
come  up  against  the  sky  with  almost  sharp- 
ness, yet  they  round  out  and  take  form  in  a 
manner  that  speaks  of  the  skill  of  the  painter. 
The  texture  of  the  foliage,  the  drawing  of  the 
trunks  and  limbs,  are  as  graceful  and  free 
as  nature;  and  the  outlines  of  the  masses  of 
leaves  as  they  meet  the  sky  have  rarely  been 
equaled,  being  firm,  yet  tenderly  drawn.  This 
foliage  is  delightful,  being  of  a  rich  somber  col- 
oring, wherein  warm  olive  tones  prevail.  The 
landscape  is  of  the  same  quiet  character. 
"While  gray  in  tone,  it  is  yet  rich  and  full  of 
light.  Touches  of  more  positive  color  are  in  a 
group  of  cows  grazing  on  the'plain.  The  paint- 
ing of  this  little  gem  is  simple,honest,and  beau- 
26 


tifully  studied.  It  is  a  quiet,  modest  little  pict- 
ure, with  all  the  beauty  of  a  bright  yet  gray  day. 

|ARCISSE  DIAZ^^K 
Intherealmsof  color  Diaz 
Iranks  as  one  of  the  first. 
'Herein  lies  his  greatest 
strength.  Few  ever  lived 
*who  could  lay  rich,  deep, 
sober  colors  with  a  more 
charming  relationship 
than  he.  They  are  analo- 
gous to  the  mellow  tones 
of  the  pipe  organ.  He  was  of  a  peculiar  tempera- 
ment which  at  once  entered  into  the  spirit  of  na- 
ture. He  was  sympathetic  in  the  extreme  and  a 
friend  indeed,  many  times  turning  the  house 
of  his  faithful  Millet  from  an  abode  of  almost 
hopeless  despair  into  a  place  of  tearful  smiles. 
The  approaching  sound  of  his  peg  leg  was  to 
them  a  harbinger  of  better  conditions.  Diaz 
could  shed  tears  with  his  friends  but  through 
them  there  always  gleamed  a  ray  of  hope.  This 
sympathy  is  felt  in  hisbeautiful  coloring,  which 
is  of  the  most  affectionate  kind.  When  quite 
an  old  man  Diaz  visited  the  house  of  M.Wolff. 
Attracted  to  a  small  panel  on  the  wall,  he  stood 
in  front  of  it.  He  seemed  deeply  interested  and 
was  seen  to  wipe  tears  from  his  eyes.  Turning 
to  M.  Wolff  he  asked,  "Would  you  be  good 
enough  to  sell  me  this  picture?  It  belongs  to  a 
part  of  my  youth."  "I  can  not  sell  it  to  you," 
was  the  reply,"but  since  you  value  it,  allow  me 
to  offer  it  to  you."  Diaz  took  the  little  gem  from 
the  wall  and  with  a  face  radiant  with  joy  car- 
ried it  away  without  loss  of  time.  The  subject 
was  his  wife  and  child.  The  baby  lay  in  a 
cradle  and  the  mother,  while  rocking  it,  had 
fallen  asleep.  The  artist  was  struck  with  the 
beauty  of  the  incident,  and  painted  it  while 

27 


DUPRE 


"When  October  comes, 
go  to  the  heights  of 
the  valley  of  the  Salle, 
or  in  the  thickets 
of  Bas-Breau;  wander 
in  the  midst  of  this 
superb  and  lusty  vegeta- 
tion, under  the  trees, 
species  of  immense 
bouquets  glittering  with 
a  thousand  colors, 
where  play  all  shades, 
the  dark  green,  the 
brown,  the  golden 
yellow,  the  bright  scar- 
let; and,  seeing  this 
magnificent  twinkling 
of  autumn  tints, 
you  will  surprise  your- 
self by  saying,  'Behold 
Diaz!'  " 

Roger  Ballu 


DIAZ  they  slumbered.  The  picture  hung  over  the 
artist's  bed  for  years  and  was  greatly  treas- 
ured, but  one  day,  when  the  clouds  were  more 
than  heavy,  a  dealer  came.  Seeing  the  little 
picture,  he  at  once  desired  to  possess  it  and 
named  a  sum.  Diaz  wished  to  keep  it  and  of- 
fered anything  he  possessed  for  a  like  amount. 
Nothing  but  this  picture  would  answer.  The 
rent  was  due  the  following  day  and  there  was 
nothing  with  which  to  meet  it.  Diaz  gave  him 
a  receipt  for  his  money,  but  the  man  never  real- 
ized that  he  was  carrying  away  with  him  a 
piece  of  the  artist's  heart.  In  comparison  with 
his  contemporaries  Diaz  does  not  strike  you 
with  as  much  force  as  some  of  the  others,  who 
were  more  positive  in  their  assertions,  but  in 
his  pictures  you  always  find  a  quiet  charm 
which  appeals  with  such  tenderness  that  their 
beauty  seems  to  blend  with  your  own  nature 
and  more  than  compensates  for  their  lack  of 
strength  of  handling. 

NO.  97  There  are  many  pictures  by  Diaz  in  this  col- 

THE  STORM"  lection,both  landscape  and  figure.  The  largest, 
"The  Storm,"  is  a  wonderful  rendition  of  one 
of  nature's  most  sullen  moods.  Dark  gray 
clouds,  twisting  and  tumbling  in  myriads  of 
fantastic  forms,  envelop  the  sky.  Gloom  settles 
over  everything  like  a  pall.  The  upper  sky  is 
light,  and  over  it  bits  of  wild  dark  clouds  fly. 
Along  the  horizon  is  a  line  of  light  that  is  won- 
derfully true  in  value,  keeping  back  in  the  far 
distance  and  of  that  strange  w^eird  color  thatis  a 
peculiarity  of  a  storm  swept  sky.  The  distance 
is  somber,  vague  and  indistinct,  and  of  a  sub- 
dued purplish,  blue-gray  tone,  grading  off  into 
the  warmer  colors  of  the  mid-distance,  which 
become  more  positive  under  the  half  light. 
Near  the  front  of  the  picture  a  ray  of  sunlight 
falls  gently  on  the  ground,  giving  it  a  warm, 
28 


ochre,  yellow-green  hue;  the  edges,  melting 
into  the  shadow  tints  by  tender  gradations, 
merge  into  the  deep  somber  color  of  the  fore- 
ground. A  peasant  passing  over  the  plains  is 
bent  by  the  velocity  of  the  winds.  Farther  back 
slender  young  trees  reach  out  from  among 
some  rocks  that  break  up  the  surface  of  the 
plain,  while  here  and  there  small  pools  of 
water,  catching  bits  of  reflected  color  from  the 
sky,  give  beautiful  accented  notes  to  the  fore- 
ground. Underneath  and  through  this  great 
picture  there  is  a  warm  brownish-red  tone,  and 
in  it  gray,  russet,  green,  olive,  purplish-brown 
are  thrown  togetherwith  charming  sympathy, 
making  up  a  medley  of  color  that  is  delightful. 
It  is  a  realization  of  one  of  Nature's  most  sub- 
blime  moods  and  while  you  do  not  find  the  con- 
fidence of  Dupre  or  Rousseau,  you  see  the 
same  deep  feeling  that  you  find  in  Millet. 

Diaz  loved  the  grand  old  forest  of  Fontaine- 
bleau.  This  love  was  so  intense  that  he  peo- 
pled it  with  imaginary  beings,  and  in  her 
haunts  he  found  his  grandest  inspirations. 
His  "Forest  of  Fontainebleau — Autumn,"  is 
a  wonderful  piece  of  coloring,  rich,  glowing 
and  transparent.  It  is  like  a  bouquet  of  freshly 
garnered  autumn  flowers.  Nothing  could  sur- 
pass the  luxuriousness  of  the  tones  that  are 
here  thrown  together  in  the  most  abandoned 
manner.  It  is  in  the  golden  autumn  time,  when 
the  vegetation  is  robed  in  the  glory  of  the 
changing  season.  In  the  left  foreground  stands 
a  grand  old  tree,  its  trunk  patched  with  vari- 
ous colored  mosses  and  lichens,  brown,  green, 
silvery  gray  and  pinkish  white.  This  tree  is 
studied  with  the  carefulness  of  a  portrait;  the 
character, the  wonderful  rendering  of  the  limbs 
are  marvelous.  A  large  branch  has  been  broken 
off  the  top  and  lies  on  the  ground.  The  foliage 

29 


DIAZ 


No.  105 

"FOREST  OF 

FONTAINEBLEAU— 

AUTUMN" 


"He  renders  the 
enchantments  of  the 
landscape  flooded  with 
sunshine  or  the 
forest  plunged  in 
luminous  twilight,  with 
beams  filtering  through 
the  thick  leafage;  he 
dazzles  the  eye 
with  all  the  seductions 
of  a  grand  colorist." 

Wolff 


DIAZ 


"His  career  was  a  long 

dream,  in  which  he 

perceived  an  imaginary 

world  beside  the 

actualities  of  earthly 

landscapes;  it  was 

something  like  a  fairy 

spectacle,  streaming 

with  silks,  velvet  and 

gold.     Under  the  groves 

he  called  forth  pages 

holding  greyhounds  in 

leash.     Sometimes 

under  his  magic  pencil 

these  improvisations 

took  a  more  lofty  flight 

toward  grand  art,  as 

in  his  famous  'Diana,' 

who  seems  to  have 

escaped  from  the  works 

of  the  old  masters." 

Wolff 


No.  117 
'EFFECT  OF 
AUTUMN" 


is  of  deep  yellow,  and  a  ray  from  the  sun,  which 
is  low  in  the  horizon,  turns  the  top  of  the 
tree  into  russet  gold.  At  its  foot  lies  a  crystal- 
like  pool  imbedded  in  a  beautiful  matting  of 
ferns,  grasses  and  weeds,  whose  color  would 
baffle  the  most  deft  hands  of  Oriental  art.  Bits 
of  rock  jut  out  and  give  additional  variety  to 
the  foreground.  Back  of  the  pool  you  get  a 
glimpse  of  the  forest,  filled  with  mysterious 
shadows  whose  depths  you  fain  would  fathom. 
A  second  ray  of  light  penetrates  into  these 
parts,lingering  beautifully  on  trunk  and  bough. 
In  the  rich,  deep-toned  sky  the  clouds  are  of  a 
purple-gray  color,  save  where  the  light  strik- 
ing them  turns  them  into  golden  tones.  In  the 
center  of  the  sky  a  patch  of  deep  clear  blue  is 
seen,  while  down  near  the  horizon  a  cumulous 
cloud  drifts  lazily,  lighted  by  the  full  rays  of 
the  sun. 

The  coloring  of  the  picture  is  marvelous.  It 
is  a  harmony  of  yellow-brown,  russet,  purple, 
brown, olive  and  citron-green;  their  expression 
deep,  rich  and  glowing.  It  has  all  of  Diaz's 
wizard-like  magic  of  color,  and  the  spirit  of  the 
grand  old  forest  is  caught  'with  great  skill. 

The  "Effect  of  Autumn"  is, a  charming  ex- 
ample of  landscape  painting,  with  a  supreme 
sense  of  beauty  and  refinement  in  it.  Nature 
is  robed  in  her  mellow  garb  of  chaste  yellow 
tones.  A  warm  gray  sky,  full  of  glowing  light 
and  atmosphere, hangs  over  the  scene.  Against 
this  some  graceful  young  trees  are  relieved. 
They  are  painted  with  exquisite  beauty  and 
character,their  coloring  being  in  warm  yellow- 
ish olives.  Underneath  these  trees  cattle  are 
seen  grazing.  In  the  foreground  pools  of  water 
lie,  calm  and  beautiful,  repeating  the  colors 
of  the  sky.  Around  them  are  patches  of  tall 
grasses  and  weeds,  varied  in  color,  while  rocks 
30 


are  scattered  here  and  there,  all  joined  into  a 
beautiful  harmony.  Back  and  toward  the  left 
mid-distance  a  peasant  woman  is  seen  carry- 
ing a  bundle  on  her  back.  A  flat  plain  extends 
beyond  and  meets  the  horizon.  A  tender  re- 
fined appreciation  of  beauty  beams  from  every 
touch. 

The  little  canvas,  "The  Assumption,"  is  one 
of  the  most  charming  of  the  subject  ever  paint- 
ed. And  while  it  is  a  theme  that  has  been 
treated  by  the  great  religious  painters  of  vari- 
ous epochs,  under  the  patronage  of  the  church 
which  enabled  them  to  develop  their  highest 
ideals  of  sacred  art,  yet  the  greatest  of  them, 
had  he  painted  this  little  picture,  would  have 
added  to  his  fame.  It  would  be  difficult  to  find 
anything  possessing  more  refined  beauty  of 
color  than  this  picture. 

The  canvas  is  small,  and  upright  in  shape, 
the  figure  of  the  Virgin  occupying  the  greater 
part  of  it.  Her  face  is  beautiful  and  full  of  spirit- 
uality, as  upturned  it  seems  to  realize  the  Di- 
vine mission  she  is  to  fulfill.  Soft  brown  hair 
falls  back  from  her  forehead  and  floats  in 
waves.  Her  dress,  whose  lines  are  remarka- 
bly graceful,  is  of  a  beautiful  blue  color.  Her 
form,  slender  and  spiritual,  seems  to  float  on 
the  air.  Twined  around  her  waist  and  float- 
ing away  gracefully  is  a  bit  of  rose-red  dra- 
pery; about  her  neck  is  some  soft  filmy  stuff 
which  mingles  with  the  red  and  blue.  Her 
arms  are  stretched  out  and  downward,  which 
suggests  the  idea  that  she  is  speaking ;  an  im- 
pression which  the  slightly  parted  lips  seem  to 
confirm.  Just  above  her  left  shoulder,  and 
partly  concealed  by  the  clouds,  are  two  beau- 
tiful cherubs.  To  the  right  of  the  Virgin  is  an- 
other cherub  whose  hands  are  clasped  in  devo- 
tion, and  below  her  are  two  wonderful  little 


DIAZ 


No.  133 
'THE  ASSUMPTION" 

"Diaz  appeared  at  an 
epoch  when  some 
radiant  stars  shone  in 
the  artistic  sky;  their 
radiance  diminished  not 
his  brightness.     He 
knew  how  to  make 
himself  a  place  apart, 
and  that  place  he  will 
keep  with  posterity." 

Roger  Ballu 


DIAZ  figures,  their  forms  and  flesh  as  tender  as  the 
petals  of  a  freshly  blown  rose.  Just  above  these, 
and  almost  concealed  in  the  shadows  of  the 
drapery  which  falls  from  the  Virgin,  you  see 
a  child.  Looking  out  from  the  surrounding 
shadows  it  suggests  the  Divine  Child  whose 
face  was  to  beam  from  the  darkness  of  a  man- 
ger. 

The  entire  picture  is  beautiful  and  tenderly 
poetical.  It  has  all  the  gracefulness  that  the 
subject  would  suggest.  If  the  name  of  Raphael 
or  Murillo  were  signed  to  it,  it  would  be  among 
the  sacred  treasures  of  religious  art.  Aside 
from  the  subject,  to  any  one  sensitive  to  beauty 
this  little  picture  needs  no  name.  It  is  signed 
by  the  touch  of  genius. 

NO.  54  The  student  of  art  will  find  in  "Cupid  Dis- 

armed" a  remarkable  piece  of  flesh  painting, 
warm,  tender  and  luminous.  There  is  aglow 
in  the  light  that  it  would  be  difficult  to  surpass. 
It  merges  into  bluish  half  tones  by  beautiful 
gradations,  and  then  into  the  depth  of  shadow 
like  a  chromatic  chord  played  with  delicate 
touch  on  some  stringed  instrument  in  which 
one  tone  melts  into  another.  You  feel  that  this 
is  real  flesh,  the  shadows  of  which  are  rich, 
deep  and  transparent ;  even  in  their  depths  the 
form  is  finely  rendered.  The  canvas  is  up- 
right in  shape.  On  it  is  painted  the  almost  nude 
figure  of  a  woman  of  large  proportions,  blonde 
in  type  and  of  pleasing  face.  Her  hair  is  of 
that  golden  bronze  hue  which  has  found  favor 
among  all  the  great  colorists.  She  stands  facing 
you,  leaning  lightly  on  her  right  elbow.  In 
her  left  hand  she  holds  an  arrow  teasingly 
above  her  head.  The  pose  is  easy,  and  the 
weight  of  the  body  is  thrown  to  one  side,  ren- 
dering the  lines  graceful  and  undulating.  The 
arrangement  of  light  on  the  figure  forms  a 
32 


mass  that  is  worthy  of  that  master  of  breadth, 
Correggio.  Nothing  could  be  more  beautiful 
than  the  effect  of  this  light  as  it  falls  on  the 
tender  flesh. 

On  the  woman's  right  stands  Young  Love 
reaching  on  tiptoes  for  his  arrow,  pleading 
vainly  for  the  instrument  of  both  joy  and  sor- 
row. His  form  is  beautifully  rounded,  and  is 
charming  in  its  proportions,  especially  so  in 
the  back  and  hips.  The  background  is  dark, 
warm,  rich  and  shadowy.  As  a  painting  this 
will  hold  its  own  beside  the  best  figure  pictures 
of  modern  art,  and  it  possesses  many  qualities 
that  belong  to  the  best  work  of  the  old  masters. 

[RARLES  FRANQOIS 


DIAZ 


No   painter  of  modern 
times  went  to  nature  with 
more  trusting,  loving  ten- 
derness  than  Daubigny. 
Heabsorbed  the  beauty  of 
all  her  many  moods,  and, 
with  a  devotion  that  was 
never  surpassed,  gave  his 
life  to  the  placing  upon  canvas  the  lessons 
learned  from  her.  He  did  not  try  to  make  her 
conform  to  a  preconceived  idea  of  what  art 
should  be,  but  painted  the  beautiful  impression 
that  the  subject  gave  him.  There  is  always  the 
freshness  of  nature  in  his  pictures,  and  there 
never  was  a  painter  whose  devotion  to  her  was 
of  a  more  religious  fervor.  She  was  a  vast  store- 
house from  whence  he  drew  inspiration.   He 
lived  with  her,gave  himself  up  to  her  influence, 
and  to  paint  her  was  the  single  purpose  of  his  . 
life.    It  mattered  not  to  him  what  the  subject 
might  be,  he  treated  everything  with  the  same 
sense  of  devotion  and  reverence.  On  his  little 
raft,  floating  up  and  down  the  streams  of  his 

33 


"Queen  of  the  Fays, 
Destiny  often  reserves 
her  richest  surprises  for 
the  artist;  but  her 
last  endowment,  and 
the  best  of  them  all,  is 
in  conferring  on  the 
painter  the  power  of 
keeping  to  the  close  the 
illusions  of  his  youth. 
Charles  Francois 
Daubigny  was  one  of 
these  fairies'  nurse- 
lings.    At  the  age  of 
sixty  years  he  was 
as  young  in  spirit  as 
when  he  dipped  into  the 
simplest  elements 
of  his  art." 

Wolff 


DAUBIGNY 


"Arrived  at  maturity  of 

age,  admired  by  all 

*  the  artists,  solicited  by 

collectors,  overrun 

by  dealers,  this 

exquisite  artist  remained 

pure  and  simple." 

Albert  Wolff 


No.  51 
"TWILIGHT" 


native  country,  Charles  Fra^ois  Daubigny 
lived  and  filled  a  world  of  his  own.  Blessed 
and  loved  by  the  great  men  about  him,  he  pur- 
sued his  happy  calling,  contented  with  the  in- 
spiration of  the  familiar  scenes,  and  grasping 
their  individuality  in  a  way  that  was  never 
done  before.  The  grandeur  of  the  storm,  the 
slanting  light  of  a  late  afternoon,  the  warm 
tender  glow  of  a  noonday  sun,  were  all  his;  but 
the  crowning  glory  of  his  art  was  in  his  render- 
ing of  the  quiet,  passive  hour  of  twilight.  Into 
this  hour  he  painted  a  beautiful  hope;  for,  as 
you  look  into  the  twilight  sky  of  Daubigny,you 
feel  that  these  gathering  shadows  only  precede 
the  coming  of  a  more  glorious  day.  The  going 
out  of  this  child  of  nature  was  like  one  of  his 
own  beautiful  pictures,  when,  after  a  long  life 
devoted  to  art,  his  twilight  came.  M.Wolff 
said:  "Death  seemed  to  the  great  artist  the 
great  liberation;  he  died  with  a  smile  in  the 
hope  of  a  new  life  where,  among  his  famous 
friends,  he  could  finally  realize  the  dream  of 
his  ambition  and  paint  the  pictures  that  never 
should  be  sold." 

Of  all  the  hours  of  the  day  twilight  appeals 
with  the  most  loving  sentiment.  It  is  a  time 
which  brings  us  nearer  to  our  better  selves  and 
in  closer  relationship  with  the  subtle  influen- 
ces that  are  about  us.  It  fills  us  with  the  deep- 
est emotions,  and  causes  the  divine  harmonies 
that  are  within  us  all  to  go  out  and  become  a 
part  of  the  great  universal  harmony  that  goes 
on  and  on  into  infinitude.  When  the  feeling 
of  the  hour  is  truly  painted,  it  brings  up  those 
sentiments, and  such  a  picture  becomes  atreas- 
ure.  The  canvas,  "Twilight,"  possesses  these 
qualities  and  is  one  of  the  best  Daubignys  in 
the  country.  It  is  a  gem  of  subjective  beauty, 
full  of  soft,  tender,  subdued  color  that  appeals 

34 


at  once  to  the  sympathies.  The  upper  sky  is 
a  warm  yellow  gray,  increasing  in  richness  as 
it  approaches  the  horizon,  where  it  becomes 
a  murky  yellowish  mass,  the  mingling,  strug- 
gling light  of  the  fast  fading  day.  Against  this 
glowing  luminous  horizon,  wherein  a  touch  of 
cloud  charms  the  eye,  the  distant  objects  are 
painted  in  a  vague,  misty,  uncertain  way  that 
is  very  fine  in  effect.  High  up  in  the  sky  on 
the  left,  a  crescent  moon  is  seen,  reflected  gem- 
like  in  the  water  below.  Everything  is  so  filled 
with  mystery  that  an  attempt  to  describe  this 
picture  literally  would  destroy  its  charm.  All — 
the  trees  on  the  left,  the  calm  water — is  painted 
with  a  tenderness  that  shows  a  genuine  affec- 
tion for  the  hour.  It  is  a  canvas  full  of  beau- 
tiful harmonies  analogous  to  the  harmonies  of 
music;  it  appeals  to  onelike  some  melodyborne 
on  balmy  breezes  across  the  waters,  falling  on 
the  ear  in  tremulous  waves  and  bringing  a  calm 
passive  peace  into  the  soul. 

"The  Coming  Storm"  is  beautiful  in  every 
respect.  The  time  is  early  spring,  when  the 
tender  green  is  always  delightful.  Gathering 
clouds,  through  which  you  catch  glimpses  of 
blue  sky,  hang  in  the  upper  part  of  the  can- 
vas. Soft,  creamy,  whitish  clouds  drift  along 
the  horizon.  Away  in  the  distance,  far  beyond 
the  plain,  are  low  hills  bathed  in  dark  bluish 
shadows  which  merge  into  the  tender  half- 
light  of  the  mid-distance.  Across  this  plain, 
which  extends  to  the  front  of  the  picture, cloud- 
shadows  chase  each  other  playfully.  Some  of 
them  fall  across  the  foreground,  giving  a  sob- 
erness to  the  grass  coloring,  broken  by  tufts 
of  dry  hay  that  lie  here  and  there.  To  the  right 
is  a  broad  expanse  of  leaden  gray  water,  near 
whose  edge  are  shocks  of  hay  where  two  peas- 
ants are  seen  working.  There  is  a  charm  of 

35 


DAUBIGNY 

"Daubigny  transports 
me  without  jolting  each 
time  that  I  stop 
before  one  of  his 
pictures.     How  will- 
ingly would  we  sojourn 
in  that  one,  beside 
that  fresh  water,  where 
the  cows  take  their 
evening  bath !     Night 
falls,  the  thrushes 
send  forth  their  last 
cry.    The  nightingale 
begins  to  sing.  *  *  *  " 
Edmond  About 


No.  153 

'THE  COMING 
STORM" 


DAUBIGNY 


No.  137 

"SUNSET  ON  THE 
COAST  OF  FRANCE" 


"With  the  dawn  of  day 
he  would  disappear, 
embarking  in  his 
boat,  and  letting  him- 
self float  away  at  the 
will  of  the  stream;  when 
he  met  a  new  site, 
when  nature  showed 
him  an  unexpected 
aspect,  the  boat  was 
anchored  in  the  middle 
of  the  rivulet,  and 
in  a  few  hours  the 
landscape  painter  had 
seized,  as  it  were, 
on  the  wing,  the  im- 
pression of  the  scene." 
Albert  Wolff 


color  about  this  canvas  that  is  delightful  in  its 
freshness  and  purity.  It  is  a  fine  performance, 
true  to  nature,  and  full  of  the  soft,  balmy  air 
that  precedes  a  coming  storm.  Before  it,  you 
are  filled  with  the  great  out-door  feeling  which 
comes  to  one  in  the  presence  of  Daubigny's 
work. 

"  Sunset  on  the  Coast  of  France"  is  a  picture 
full  of  wondrous  beauty.  Here  is  one  of  those 
glorious  evening  skies  that  Daubigny  loved  to 
paint.  The  sun  has  dropped  belowthe  horizon; 
the  sky  is  completely  submerged  in  rich,  glow- 
ing light,  whose  color,  atmosphere  and  feel- 
ing reach  a  supreme  expression.  A  peaceful 
calm  pervades  everything.  Reaching  out 
against  this  sky  is  the  ocean  in  all  its  sublim- 
ity ;  its  color  is  of  a  strange  blue  green,  yet  true 
to  nature.  The  beautiful  harmony  of  this  plain 
of  blue  green  water  against  the  golden  sky  was 
never  surpassed.  It  is  indescribable,  and  must 
be  felt.  The  sense  of  vastness  is  so  finely  ren- 
dered, and  yet  so  simply,  that  you  marvel  at 
the  power  of  the  painter.  The  foreground  is 
composed  of  rocks  and  tufts  of  marshy  grass 
among  which  cows  are  grazing.  Here  and 
there  are  small  pools  of  water.  All  this  part 
is  painted  in  a  subdued  and  unobtrusive  man- 
ner, so  that  the  eye  may  sweep  across  the 
great  expanse  of  water  and  linger  amid  the 
wonders  of  the  dying  day.  In  this  picture  art 
is  raised  into  an  altitude  wherein  the  great  les- 
sons of  nature  are  brought  to  us  with  subtle 
power. 


ELIX   ZIE 

Ziem  is  essentially  a  col- 
orist.  His  pictures  of  Ve- 
netian subjects  have  had 
a  -wide  influence  and  his 
imitators  have  been  nu- 
merous. He  loves  deep 
somber  twilights  of  pur- 
pling crimson  and  glow- 

ing  sunsets  full  of  golden 

mists,  and  his  greatest  pleasure  has  been  in 
painting  those  picturesque  cities  of  the  sea, 
Venice  and  Constantinople.  The  sky  has  an 
especial  charm  for  him,  usually  occupying  the 
larger  space  in  his  compositions.  He  beau- 
tifully treats  calm,  or  slightly  ruffled  -water, 
opalescent  with  reflected  colors.  Rich,  warm, 
deep,  transparent  color;  soft,  dreamy  atmos- 
phere and  distances;  a  poetic  feeling,  luxuri- 
ant and  slightly  oriental,  and  a  thorough  ap- 
preciation of  the  picturesque  are  some  of  the 
characteristics  of  this  artist. 

He  was  a  pupil  of  Isabey,  and  is  ranked  asone 
of  the  great  school  of  1830,  the  last  survivor  of 
that  brilliant  galaxy.  The  ".Venice— Sunset" 
in  this  collection  is  one  of  his  best  pictures. 
This  with  the  "Venice"  of  Rico  and  the  admir- 
able Turner  form  an  interesting  group,  each 
distinct,  and  characteristic  of  the  artist;  yet 
totally  unlike  in  treatment  and  style.  In  the 
"Sunset"  you  are  looking  into  a  glowing  sky 
full  of  misty  yellow  light.  The  eye  sweeps 
across  a  broad  stretch  of  water  that  forms  one 
of  the  great  avenues  of  Venice,  "the  city  of 
song,"  and  passes,  through  beautifully  modu- 
lated tones,  from  the  rich  amber  of  the  near 
waters  on  until  lost  in  a  maze  of  light  that  sur- 
rounds the  setting  sun.  In  the  distance  the 
domes  of  an  immense  structure  are  seen, 

37 


No.  91 

"VENICE- 
SUNSET" 


"He  sees  with  in- 
difference the  rocks, 
the  plains,  or  the  forests, 
and  is  arrested  by 
choice  in  the  great 
maritime  cities  which 
mirror  in  the  water 
edifices  gilded  by  the 
sun  of  the  south." 

Rene  Menard 


ZIEM    bathed  in  the  mists  of  evening ;  to  its  left  some 
lower  buildings  line  a  wharf.  Along  this  side 
aweiira°sf    °f  the  canal  and  back  are  picturesque  groups 
a  painter  of  marines,    of  boats  and  barges,  their  spars  and  rigging 
who  willingly  takes    seeming  to  tremble  in  the  atmosphere. 

a  siesta  at  noonday,  _,        5»    .tj.  ,  ,  A   f  .    . 

and  wishes  to  see       The  buildings  and  boats  that  form  the  right 
nature oniy as jtwi-    of  the  picture  are  painted  with  a  strong  solid 

light  approaches.'  1_         T-»       i          r    £L.  •  ,«•!•„ 

ReneMenard    touch.     Back  of  them  is  a  tall  tower  that 

reaches  up  into  the  sky.   Receding  gradually 

"The  least  wind  which    frOm  the  strongly  characterized  objects  in  the 

perchance  ruffles  the        .    ,.      .,        f      .-*  J  , .       .     .    ,         J     .,       , 

face  of  the  water    right,  the  farther  ones  dimmish  until  almost 
furnishes  delicious    \os^  'm  the  distant  horizon  line.  Lying:  at  anch- 

matter  for  his  brush.  ,  •  j    j  •    ,,  j  i      •,    * 

His  marines  give  us    or  near  the  mid-distance  and  surrounded  by 
that  delectable  little    small  barges  is  a  large  sea-faring  vessel.  The 

shivering  with  which  we     ,.    -   ,  f  *••  .A«  r    n«  ,1        r 

are  seized  when  we    light  from  the  setting  sun  falling  on  the  fronts 
step  on  a  boat.-    of  the  buildings  gives  them  a  beautiful  golden 

Edmond  About  A  ,  Zt_          «_  ^t_        j        i 

tone.  Along  the  shore  the  docks  are  loaded 
with  merchandise.  A  bit  of  stone  abutment  in 
the  foreground  is  beautifully  touched  with 
light;  from  it  a  gondolier  is  pushing  a  pictur- 
esque gondola  on  which  pleasure  parties  are 
grouped.  To  the  left  and  farther  back  another 
gondola  is  seen  going  in  an  opposite  direction, 
while  silently  the  grand  old  orb  of  day  sinks 
down  into  the  mysterious  horizon,  diffusing  a 
golden  light  that  saturates  every  object.  Pass- 
ing from  these  the  eye  dwells  on  the  rich  deep 
harmonies  in  the  foreground.  Here  are  those 
tones  that  border  on  the  melancholy,  that  bring 
almost  a  touch  of  sadness.  Deep  russets,  crim- 
son browns  and  purples  mingle,  with  here  and 
there  a  touch  of  gold  or  orange  to  heighten  the 
effect.  There  is  a  hush  over  everything;  no 
sound  excepting  perhaps  the  song  of  some  gon- 
dolier which  comes  in  waves  across  the  wa- 
ters. The  water  with  its  slightly  ruffled  surface 
is  charmingly  painted,  while  over  the  whole 
canvas  is  a  beautiful  feeling  of  repose.  It  is 
like  one  of  the  charming  "gondo-lieds"  of 
38 


Mendelssohn,  who  expressed  in  music  the    ZIEM 
delicate  beauty  of  this  strange  city. 

In  his  "Sunset — South  of  France,"  a  rich 
warm  autumn  sunset  sky  that  has  almost  deep- 
ened into  twilight  greets  the  eye.  Commenc- 
ing in  warm  bluish  greenish  tints  at  the  top 
the  sky  grades  down  through  perfect  grada- 
tions from  pale  greenish  yellow,  through  or- 
ange, into  the  vermilion  tones  that  lie  along 
the  horizon.  Small  island-like  clouds  drift 
across  the  sky,  giving  it  a  weird  effect.  The 
landscape  is  bathed  in  glowing  shadows,  in 
which  the  mystery  of  the  hour  is  beautifully 
expressed.  From  the  center  of  the  picture  to 
the  right  extends  a  row  of  hedge  bushes,  rising 
out  of  which  are  tall  and  slender  trees,  whose 
graceful  branches  and  scanty  leafage  cut  clear- 
ly against  the  sky.  On  the  left  of  this  group 
you  see  a  bit  of  water,  its  calm  surface  reflect- 
ing and  deepening  the  colors  above.  The  land- 
scape is  painted  in  somber  tones  to  which  dark 
russet  and  crimson  add  a  still  deeper  feeling. 
It  is  a  faithful  study  of  the  hour,  from  any 
standpoint  in  which  it  may  viewed.  The  sen- 
timent is  especially  fine,  and  as  a  piece  of  color 
it  is  remarkable  in  its  strength  and  richness. 

There  are  three  small  pictures  of  Venice  by 
Ziem  in  this  gallery  that  are  quite  similar  in 
subject  but  varying  in  effect.  The  one  called 
"  Morning  in  Venice  "  is  quite  different  in  col- 
oring from  the  other  two.  Here  you  have  the 
soft  balmy  air  of  morning  with  its  mists  and 
tender  air.  The  sky,  which  is  beautiful,  is  full 
of  that  pale  creamy  yellow  found  only  at  that 
time  of  day.  The  rippling  water  is  treated  with 
his  usual  skill.  The  objects  which  compose  the 
foreground  are  painted  in  the  warm  brownish 
amber  tones  that  seem  characteristic  of  the 
artist ;  these,  with  the  pale  yellows  and  warm 

39 


No.  44 

"SUNSET- 
SOUTH  OF  FRANCE" 


.  No.  29 
MORNING" 


ZIEM 

No.  30 
'MIDDAY" 


No.  31 
'EVENING1 


blue  of  the  upper  sky,  are  the  prevailing  tones 
of  the  entire  picture. 

"  Midday  "  is  the  second  of  the  set.  A  beau- 
tiful cameo-like  blue  fills  the  upper  sky ;  a  soft 
tender  light  is  along  the  horizon  and  into  the 
little  canvas  is  painted  a  spirit  of  rest,  ethereal 
and  clear.  A  boat  -with  yellow  sails  conies  in 
with  delightful  color  effect.  Buildings,  boats 
and  water  are  painted  with  a  fine  poetic  feel- 
ing, in  keeping  with  the  subject;  indeed,  Ziem 
is  essentially  a  poet,  a  painter  of  Venice;  one 
thoroughly  sensitive  to  her  somber  aspects, 
and  also  especially  endowed  with  power  to 
paint  her  more  glorious  moods. 

"  Evening  "  shows  us  again  deep,  sad  tones, 
that  linger  mournfully  amid  the  deepening 
shades  of  the  boats  and  barges  which  are 
grouped  in  the  front  of  the  picture.  The  upper 
sky  is  of  a  beautiful  opalescent  tint  that  is 
charming.  It  is  tenderly  painted  with  a  refined 
and  beautiful  feeling,  and  the  studied  details  of 
the  picture  melt  into  the  quiet  evening  atmos- 
phere. These  three  little  pictures  form  a 
charming  group  as  they  hang  side  by  side  on 
the  wall,  making  a  unique  spot  of  color  in  the 
gallery. 


II 


|AUL    DELAROCHE 
'The  life  and  work  of  De- 
laroche  not  only  do  great 
honor  to  his  native  coun- 
try, but  add  luster  to  the 
art  of  the  century.  A  con- 
scientious,  sympathetic 
and  spiritual  soul,  his 
^sensitive  and  emotional 
_  ^nature  was  to  a  great  de- 

gree tinged  with  sadness.  There  is  a  pathos 
expressed  in  many  of  his  pictures  that  is  not 
equaled  by  any  contemporaneous  painter. 
Trained  in  the  studio  of  Baron  Gros,the  distin- 
guished disciple  of  David,  Delaroche  adhered 
more  closely  to  nature  than  his  master;  at  the 
same  time  retaining  his  dignity  of  style,  and 
adding  to  his  pictures  a  more  human  touch. 
He  possessed  qualifications  that  fitted  him  for 
the  painting  of  history,  especially  those  sub- 
jects in  which  sadness  plays  a  prominent  part. 
His  ideals  were  pure  and  exalted,  and  his  com- 
positions noble  and  full  of  gentle  feeling.  De- 
laroche was  not  an  epoch  maker,  but  he  im- 
parted a  certain  distinction  to  the  art  of  his 
time.  The  influence  and  example  of  his  devo- 
tion to  his  high  ideals  has  had  fruitage  in  the 
many  distinguished  masters  who  found  inspi- 
ration in  the  atmosphere  of  his  studio.  There 
is  nothing  in  the  art  of  the  time  that  surpasses 
the  pathos,  the  unrestrained  sorrow,  expressed 


"By  giving  a  somewhat 
poetical  rendering  of 
history,  in  incidents  of 
great  accuracy  of  de- 
tail and  accessory, 
at  the  most  fitly  chosen 
moment,  he  touched 
a  chord  of  universal  ap- 
preciation, and  united 
all  in  a  more  or  less 
temperate  admiration 
of  his  works." 

C.  H.  Stranahan 


DELAROCHE 

No.  85 
"THE  HEMICYCLE" 


"Like  some  beautiful 

poem,  the  painting  of 

'The  Hemicycle' 

forms  a  harmonious 

whole,  broken,  as  it 

were,  into  stanzas." 

Critique 


in  his  pictures  illustrating  the  scenes  inciden- 
tal to  the  death  of  Christ. 

But  the  work  on  which  the  great  master  de- 
sired his  fame  to  rest  was  the  "Hemicycle," 
the  nearest  approach  to  his  ideal.  Delaroche 
was  selected  to  decorate  the  walls  of  the  School 
of  Fine  Arts  at  Paris.  The  original  design  ac- 
cepted embraced  only  twenty-five  figures,  for 
which  he  was  to  receive  a  stipulated  sum.  Re- 
alizing the  opportunity  of  displaying  his  pow- 
ers, and  filled  with  patriotism  and  devotion  to 
art,  he  enlarged  on  the  original  design  until  it 
reached  three  times  its  original  proportions; 
the  sum  received  for  the  work  scarcely  cover- 
ing the  actual  cost  of  its  execution.  The  origi- 
nal picture  from  which  the  great  decorative 
work  was  executed  is  to  be  seen  in  this  col- 
lection and  was  painted  entirely  by  Delaroche 
himself.  The  large  decoration  in  the  Palace 
of  Arts  being  once  almost  destroyed  by  fire, 
was  restored  by  other  hands;  so  this  picture 
alone  has  the  honor  of  bearing  the  imprint  of 
his  genius. 

On  this  remarkable  canvas  is  painted  a  com- 
position which,  considering  its  limitations,  is 
unsurpassed  in  the  annals  of  decorative  art. 
Difficulties  that  seem  insurmountable  have 
been  overcome  with  rare  skill.  Some  seventy- 
five  figures  are  placed  on  a  narrow  strip  of  can- 
vas, each  posed  with  dignity  and  character, 
yet  resembling  in  no  wise  any  of  the  others. 
There  is  no  repetition,  either  in  pose,  gesture 
or  costume.  At  least  seventy  heads  are  ar- 
ranged within  a  narrow  space,  only  four  inches 
wide,  running  across  the  canvas,  yet  no  two 
strike  the  same  level.  The  composition  is  in- 
tended to  commemorate  the  Painting,  Sculp- 
ure  and  Architecture  of  the  periods  from  the 
time  of  Pericles  down  to  that  of  Louis  XIV. 
42 


The  background  is  the  portico  of  a  great  tem- 
ple of  the  Ionic  order  which  represents  the 
Temple  of  Fame.  On  its  steps  stand  the  groups 
of  immortals.  The  central  point  of  the  compo- 
sition is  a  sort  of  recess  or  throne,  on  which 
are  seated  three  of  the  greatest  representa- 
tives of  ancient  Greek  art.  In  the  center  sits 
Apelles  the  painter;  he  is  strong  and  rather 
youthful,  and  of  a  pure  classic  type.  His  arms 
and  chest  are  bared  and  his  robe  falls  in  sim- 
ple lines.  Phidias,  the  great  sculptor  of  an- 
tiquity, whose  triumphs  have  baffled  the  at- 
tempts of  sculptors  of  succeeding  generations, 
is  at  his  left.  He  is  strong  of  face  and  figure, 
slightly  bearded,  and  grave  and  serious  in  ex- 
pression. To  the  right  of  Apelles  sits  the  archi- 
tect Ictinus,  who  designed  the  Temple  of  Mi- 
nerva at  Athens.  Like  Phidias,  he  wears  a 
beard  and  is  of  thoughtful  mien.  All  three  are 
robed  in  white,  and  wreaths  of  olives  crown 
their  heads.  To  the  right,  and  lower  down,  is 
a  woman  whose  face  is  in  profile.  Her  robe  is 
of  blue  and  white,  on  her  head  is  a  crown  of 
gold  and  in  her  lap  a  scroll  of  parchment.  This 
figure  symbolizes  Roman  Art.  Next  to  her 
stands  another  leaning  slightly  against  a  block 
of  stone.  She  is  of  a  voluptuous  type.  The  up- 
per part  of  her  figure  is  only  partly  concealed 
by  thin  drapery;  the  lower  is  enveloped  in  a 
robe  of  crimson.  This  figure  completes  the 
right  side  of  the  central  group  of  the  pictures 
and  represents  the  Renaissance.  To  the  left 
of  Apelles,  and  opposite  the  figure  represent- 
ing Roman  Art,  is  a  woman  of  antique  type, 
with  black  hair  and  fine  face  and  figure.  She 
wears  a  costume  of  delicate  pink  and  her  pose 
is  beautiful  in  its  simplicity.  In  her  hand  she 
holds  a  roll  of  paper.  This  figure  is  represen- 
tative of  Greek  Art.  Next  to  her  and  standing 

43 


DELAROCHE 


"Delaroche  is  another 
exceptional  artist, 
noteworthy  for  his  poet- 
ical conceptions  of 
historical  themes, 
his  elevated  religious 
spirit,  and  his 
chaste  manner. 
He  is  an  academician, 
with  a  mind  enlarged 
by  study,  and  gov- 
erned by  purer  taste 
than  that  about  him." 
Jarves 


DELAROCHE  on  a  lower  step  is  a  figure  of  tall  graceful  form, 
whose  upturned  face  is  full  of  spirituality.  Her 
head  is  beautiful  in  its  simplicity  and  her  hair, 
which  is  brushed  closely  to  her  forehead,  falls 
in  waves  on  her  shoulders.  Her  robe  of  citron 
green  and  light  buff,  and  under-dress  of  pale 
lavender,  make  a  distinguished  arrangement 
of  color.  Resting  against  a  column  at  her  side 
is  a  model  of  a  Gothic  church,  as  she  symbol- 
izes Gothic  Art.  This  beautiful  figure  is  a 
portrait  of  the  wife  of  the  artist,  the  daughter 
of  Horace  Vernet,  the  distinguished  painter  of 
military  subjects.  At  the  lower  front  of  this 
group  is  a  fine  nude  female  figure.  She  is  dis- 
tributing wreaths  of  laurel  and  is  the  Genius 
of  the  Arts. 

This  completes  the  central  group.  On  either 
side  of  it  are  gathered  the  artists,  who  seem 
busily  engaged  in  conversation.  To  the  right 
of  the  central  group  are  the  great  architects  of 
the  various  epochs,  from  the  twelfth  to  the  six- 
teenth century.  They  are  posed  in  a  graceful, 
easy  manner,  the  interest  centering  around 
Di  Lapo,  the  architect  of  the  cathedral  of  Flor- 
ence. Among  those  grouped  about  him  are 
Brunelleschi,  Bramante,  Lescot,  Palladio,Ar- 
nolfo,  Sansovino,  Inigo  Jones,  Luzarches, 
Steinbach,  Delorme,  Peruzzi  and  Vignola. 
Back  of  this  group  is  seen  the  head  of  Marc 
Antonio,  whose  engravings  of  Raphael's  works 
are  among  the  treasures  of  art,  and  near  him 
is  Gerard  Edelinck,  a  noted  Flemish  engraver. 
To  the  right  of  the  architects  are  other  noted 
engravers,  and  the  great  creative  painters.  Fra 
Angelico  is  distinguished  from  the  others  by 
his  convent  garb,  while  Da  Vinci,  with  his  long 
venerable  beard,  is  the  center  around  which 
the  various  masters  are  grouped.  Here  Raph- 
ael is  seen  engaged  in  conversation  with  his 

44 


followers.  All  mingle  in  fellowship  and  mutual 
interest  save  that  strange  but  supreme  genius, 
Michael  Angelo  Buonarotti,who  was  the  high- 
est dramatic  expression  of  art  ever  given  to 
the  world.  He  sits  alone,  removed  from  his 
companions,  wrapped  in  his  own  meditations; 
his  stern  visage  reflecting  the  seriousness  of 
his  sublime  works.  Isolation  is  depicted  by 
Delaroche  in  every  line  of  his  figure  and  you 
feel  at  once  the  exalted  genius  of  the  man  who 
lived  closely  within  himself.  To  the  left  of  the 
central  group  are  the  sculptors,  among  whom 
will  be  found  Benvenuto  Cellini,  Jean  Goujon, 
Palissy,  Peter  Fischer,  Donatello,  and  others. 
To  the  extreme  left  and  completing  the  picture 
are  the  colorists,  such  masters  as  Titian,  Ver- 
onese, Correggio,  Rembrandt,  Rubens,  Paul 
Potter,  Van  der  Heist,  Van  Dyck,  Claude  Lor- 
raine,Nicolas  Poussin,Velasquez  and  Murillo. 
The  composition  of  the  picture  is  remarka- 
ble. The  small  groups  fall  naturally  into  the 
larger  group  of  the  whole,  forming  a  perfect 
unity,  the  result  of  careful,  conscientious  work 
directed  by  a  high  aim.  The  color  scheme  is 
sober  and  dignified,  and  composed  largely  of 
broken  greens,  reds,  blues,  purples,  bronzes 
and  yellows  mingling  in  harmonious  arrange- 
ments, which  are  accented  here  and  there  by 
a  bit  of  pure  color.  A  thoughtful,  elevated  per- 
formance, in  keeping  with  the  purpose  for 
which  it  was  created,  it  is  to-day  a  monument 
to  the  genius  of  one  who  was  extremely  mod- 
est, who  constantly  felt  that  he  had  almost 
failed  in  his  art.  Standing,  as  he  now  does, 
among  the  immortals  whom  he  so  lovingly 
limned  upon  this  canvas, Delaroche  thepainter 
is  one  worthy  of  the  grand  company. 


DELAROCHE 


"He  composed  well, 
even  eloquently;  drew 
poems,  elaborated 
academic  work,  but 
with  less  of  that  con- 
sciousness of  hard  toil 
which  is  apparent 
with  Ingres;  he  had  a 
noble  sense  of  the 
human  figure,  an  ele- 
vated appreciation  of  the 
true  purpose  of  art." 

Hamerton 


45 


"An  artist  whom 

nature  had  made 

a  painter,  and  study 

a  learned  man." 

A.  J.  Wauters 


GUIS 

The  International  Expo- 
sition held  in  London  in 
1862  contained  a  remark- 
able collection  of  works 
of  art  by  living  masters. 
The  artists  who  were  as- 
sembled  there  at  that 
time  decided  to  give  an 
entertainment  to  the 
member  of  their  body  who  would  be  voted  the 
most  distinguished  painter.  This  distinction 
was  conferred  on  Gallait.  He  is  a  Belgian  by 
birth  and  commenced  his  artistic  career  at 
Tournay,  his  native  city.  From  thence  he 
went  to  Antwerp  and  later  to  Paris.  He  is  the 
author  of  many  distinguished  pictures  and  oc- 
cupies an  honored  position  among  the  serious 
painters  of  the  century.  Gallait's  art  is  of  a  high 
order  and  his  subjects  are  never  commonplace 
or  trivial.  They  ofttimes  touch  the  realms  of 
the  tragic,  the  poetical,  and  almost  reach  the 
sublime.  His  manner  is  strong  in  drawing,  vig- 
orous in  the  use  of  color,  vital  in  its  truth  to  na- 
ture, and  in  his  larger  works  often  verges  on  the 
style  of  the  great  Venetian  masters.  In  the 
rendition  of  subjects  of  a  dramatic  nature  he 
reaches  a  point  that  is  terrible,  yet  true  to  life. 
James  Defforne,  in  "The  Art  Journal"  of  April, 
1866,  quotes  this  summing  up  of  Gallait's  art: 
"To  adopt  the  language  of  one  of  his  own 
countrymen,  'He  is  of  the  race  of  artists  who, 
comprehending  the  grandeur  and  dignity  of 
art,  have  never  prostituted  their  pencils  to  the 
follies  and  infatuations  of  the  day,  nor  flattered 
the  passions  and  intellectual  weaknesses  of  the 
crowd.'"  The  representative  pictures  by  him 
in  this  collection  certainly  verify  and  bear  out 
all  that  has  been  said  of  him.  The  two  larger 
46 


canvases,"Peace,"  and  "War,"  reveal  a  genius 
that  is  remarkable  in  its  tragic  poetry,  while 
"The  Dead  Counts  Egmont  and  Horn,"  al- 
though painted  in  water-color  and  small  in  di- 
mensions, is  as  strong  as  any  historical  picture 
of  the  period. 

"Peace"  the  artist  has  beautifully  symbol- 
ized in  domestic  happiness.  A  mother  whose 
face  beams  with  maternal  love  and  affection 
fondles  two  children.  Her  face  is  turned  to- 
ward the  larger  child,  who  stands  at  her  side. 
The  child  is  beautiful  with  his  sweet  upturned 
face  as  he  holds  aloft  a  bunch  of  pure  white 
flowers.  Her  left  arm  entwines  his  form,  and 
with  her  hand  she  caresses  him.  In  her  lap  sits 
a  chubby  little  baby,  his  face  and  hand  resting 
on  his  mother's  breast,  while  she  tenderly  fon- 
dles the  little  arm.  On  the  left  the  trunk  of  a 
tree  in  full  foliage  is  seen.  To  the  right  is  a 
wide  stretch  of  landscape  with  fertile  fields,  in 
which  a  husbandman  is  busy  plowing  with  pa- 
tient oxen.  Near  the  figures,  and  lying  in  their 
shadow,  is  a  large  shepherd  dog,  while  in  front 
of  the  mother  is  a  young  lamb  sleeping.  A 
spindle  of  wool  lies  near  and  a  part  of  a  spin- 
ning wheel  is  seen  in  a  corner.  In  the  front  of 
the  picture  a  large  butterfly  has  just  alighted. 
Peace,  repose  and  simple  domestic  happiness 
are  depicted  in  everything  in  the  scene.  The 
drapery  is  quiet  in  color,  being  brown,  blue- 
black  and  white.  The  painting,  while  strong 
and  masterly,  is  yet  extremely  refined  and 
beautiful. 

As  the  night  follows  the  day,  so  this  poem  of 
domestic  happiness  is  transformed  into  hope- 
less gloom.  "War,"  grim,  gaunt  and  pitiless, 
has  flung  her  dismal  pall  over  everything. 
The  sky  that  was  a  harbinger  of  joy  is  now 
overcast  with  low,  dismal  clouds.  All  that 

47 


GALLAIT 


No.  52 
'PEACE" 


No.  47 
•WAR" 


GALLAIT 


"His  style,  whether 

shown  in  an  elaborate 

composition  or  in 

some  simple  subject, 

is  essentially  grand." 

James  Dafforne 


No.  34 
'POWER  OF  MUSIC 


was  bright  and  hopeful  has  turned  into  darkest 
gloom.  Far  across  the  fields,  where  the  man 
and  faithful  oxen  tilled  the  fruitful  soil,  devas- 
tation and  desolation  reign  supreme.  Not  a 
ray  of  light  is  seen,  save  the  lurid  glow  of  a 
burning  city  that  illumines  the  far  away  hor- 
izon, the  reflection  casting  long  bars  of  crim- 
son along  the  lower  clouds.  In  the  foreground 
are  the  mother  and  children,  objects  of  poverty 
and  wretchedness.  The  mother,  pale,  gaunt 
and  hungry,  is  in  the  agonies  of  starvation. 
The  painting  of  the  face  and  form  of  this  wo- 
man is  powerful  in  its  horror,  and  in  its  realism 
is  equaled  only  by  the  terrible  scenes  depicted 
in  the  "Wreck  of  the  Medusa"  by  Gericault. 
Lying  with  its  face  buried  in  the  empty  breasts 
of  the  mother,  the  once  rosy  babe,  now  pale 
and  deathlike,  cries  for  the  nourishment  she 
can  not  give.  The  beautiful  boy  whose  up- 
turned face  illumined  the  other  picture,  real- 
izing his  mother's  condition,  cries  with  agony 
and  clings  to  her  almost  senseless  form.  The 
cheerful  habiliments  worn  in  the  former  pict- 
ure have  given  place  to  the  draping  of  Death. 
In  the  immediate  foreground,  where  the  lamb 
and  butterfly  were,  are  seen  the  head  and  arms 
of  a  dead  soldier.  The  dog  lies  stiff  in  death, 
faithful  to  the  end. 

The  picture  is  terrible  beyond  description, 
still  it  is  war,  and  while  many  would  like  to 
draw  the  sable  mantle  of  obscurity  over  such 
scenes,  yet  they  are  a  part  of  life,  and  the  pres- 
entation of  its  horror  with  such  vivid  and  ter- 
rible truth  must  bring  a  lesson  of  humanity. 

The  power  of  music  to  affect  human  action 
has  always  been  recognized;  whether  it  be  the 
majestic  strains  of  a  grand  symphony  or  the 
tom-tom  beat  of  the  savage.  The  musical  in- 
stinct is  universal,  and  the  potency  of  its  in- 
48 


fluence  is  felt  by  all  animated  nature.  The  GALLAIT 
fabled  story  of  the  piper  of  Hamlin  has  been 
verified  thousands  of  times,  and  music,  the 
most  divine  of  the  arts,  may  be  either  the 
means  of  our  uplifting  or  the  power  suasive 
that  leads  to  destruction.  By  its  soothing  in- 
fluence millions  of  weary  souls  have  been  up- 
lifted and  helped;  yet,  by  the  same  mysterious 
power,  myriads  have  been  drawn  into  condi- 
tions where  vice  and  wantonness  hold  their 
sway.  We  have  but  to  enter  the  storehouse 
of  our  childhood  memories  to  find  the  indeli- 
ble imprint  of  some  old,  old  song,  or  again  hear 
the  sweet  lullabies  that  came  from  a  mother's 
lips.  With  them  rise  blissful  recollections, 
tinged  with  a  sadness  hallowed  by  time.  To 
a  weary  soul  the  plaintive  song  will  come  car- 
rying the  balm  of  rest,  of  peace.  As  the  little 
child  nestling  on  the  bosom  of  its  mother  lis- 
tens to  her  even-song,  and  is  borne  off  by  it 
into  dreamland,  so  are  we  children  still,  un- 
der the  influence  of  music.  Whether  through 
the  human  voice  or  some  sweet-toned  instru- 
ment, 'swayed  under  the  magic  spell,  we  are 
brought  to  a  nearer  realization  of  the  Divine 
harmonies. 

A  traveler  in  the  Holy  Land  tells  this  story 
of  his  experience.  For  months  he  had  been 
isolated,  without  meeting  any  one  with  whom 
to  converse  in  his  native  tongue.  One  day,  in 
an  ancient  city  with  wondrous  memories,  but 
now  almost  devoid  of  habitation,  he  suddenly 
seemed  to  hear  the  strains  of  distant  music.  It 
was  so  faint  at  first  that  he  thought  he  was 
dreaming,  but  as  it  grew  stronger  he  recog- 
nized a  familiar  air,  one  that  was  dear  to  his 
heart.  Coming  as  it  did  in  the  midst  of  almost 
desolation,  a  song  that  brought  to  him  the 
memories  of  once  happy  days,  he  was  filled 

49 


GALLAIT 


"His  ideas  are  always 

noble  and  elevated, 

and  they  are  realized 

on  the  canvas  with 

the  power  of  a  master 

hand." 

James  Dafforne 


with  emotion.  Suddenly  turning  into  a  street 
he  saw  the  red  coats  of  some  British  soldiers, 
accompanied  by  a  regimental  band.  As  he  told 
the  simple  story  the  tears  gathered  in  his  eyes, 
and  a  hush  came  over  those  who  listened. 
Thus  in  peaceful  hours,  in  strange  lands,  in 
fields  of  carnage,  its  power  is  manifest.  But 
its  sweetest  and  most  endearing  influence  is 
felt  by  some  weary,  sick  soul  to  whom  life's 
pathway  seems  strewn  with  thorns,  or  to  one 
who  has  fallen  by  the  wayside.  To  such  a  one, 
music  is  indeed  a  balm  of  Gilead. 

An  incident  of  this  sort  is  found  in  the  little 
painting  by  Louis  Gallait,  the  great  French  ro- 
manticist, called  "Power  of  Music."  Sitting 
on  a  stone  overlooking  a  shady  valley  are  two 
strolling  musicians,  a  brother  and  sister,  the 
boundless  canopy  of  blue  above  them  being 
their  only  shelter.  Tired  and  weary,  the  frail 
young  girl  has  sunk  upon  the  stones,  her  head 
resting  on  her  brother's  knee.  Throughout  the 
long  day  they  have  brought  to  others  the  glad- 
ness of  music,  and  now  have  sought  this  se- 
cluded spot  that  rest  may  be  found.  The 
brother  has  just  played  some  soothing  strain 
on  his  violin,  under  whose  spell  her  spirit 
has  found  rest.  Calm,  pale  and  beautiful  is  the 
face  of  the  girl,  sweet  slumber  having  swept 
the  shadows  of  care  from  her  face.  She  wears 
a  simple  gown  of  white  and  blue;  her  arms, 
hands  and  feet  are  bare  and  very  beautiful,  al- 
though showing  the  hardships  of  exposure. 
Her  dress,  falling  slightly  from  her  shoulders, 
gives  a  glimpse  of  a  tender,  youthful  form.  Ly- 
ing at  her  feet  is  a  tambourine  that  has  kept 
time  to  her  nimble  feet  while  she  danced  her- 
self into  weariness.  Her  young  brother,  dark 
and  bronzed,  with  black  hair,  holds  the  violin 
in  position,  the  sounds  of  the  last  touch  on  the 

5° 


strings  still  lingering.  In  this  picture  the  look 
of  tender  love  expressed  in  the  youth,  the  frail 
spiritual  beauty  of  the  sister,  and  the  calm  hush 
of  the  evening  hour  are  painted  with  that  re- 
finement of  sentiment  -which  was  the  artist's 
gift.  And  again  the  power  of  music  is  graph- 
ically illustrated. 

Like  the  last  lingering  sound  from  the  vio- 
lin is  the  soft  mellow  evening  light  that  rests 
peacefully  on  the  bosom  of  the  slumbering  girl. 
Ere  long  Night  with  her  star-crowned  dome 
will  have  thrown  her  passive  mantle  over  all, 
and  silence  will  come,  unbroken  save  by  the 
hooting  owl,  or  the  moaning  of  the  wind  among 
the  ruins.  Let  us  hope  that  this  poor  frail  girl 
has  found  perfect  rest  and  that  her  pure  young 
spirit  has  been  merged  into  fields  elysian, teem- 
ing with  beautiful  flowers,  symbolizing  the 
purity  of  her  own  sweet  nature.  May  the  birds 
take  up  and  reverberate  the  tones  that  lulled 
her  to  sleep.  This  little  picture  is  a  sweetly 
rendered  melody  whose  inspiration  might 
have  been  a  song  by  Schubert.  It  is  one  of 
those  touches  that  makes  the  world  akin.  Its 
silent  appeal  brings  us  nearer  each  other. 

One  of  those  ideal  creations  for  which  Gal- 
lait  was  noted  is  his  "Art  and  Liberty."  In  the 
center  of  the  picture  stands  a  young  man  in  a 
picturesque  costume  of  brown.  He  wears  a 
broad  hat  whose  brim  curves  gracefully  upon 
one  side.  His  face  is  smooth  and  youthful,  and 
swarthy  in  color.  The  features,  refined  and 
sensitive, are  yet  determined  and  self-poised  in 
expression.  His  long  black  hair  falls  grace- 
fully on  his  shoulders.  In  his  left  hand  he 
holds  a  violin,  which  rests  on  his  arm;  in  his 
right  hand  is  the  bow.  A  long  cloak  falls  in 
graceful  lines  from  his  shoulders.  He  is  stand- 
ing on  a  balcony  overlooking  a  lake  whose 


GALLAIT 


No.  96 
'ART  AND  LIBERTY" 


GALLAIT  bosom  lies  calm  and  serene;  beyond,the  moun- 
tains rise  in  beautiful  curved  lines.  The  sky, 
mountains  and  water  are  bathed  in  a  dreamy 
blue  gray  mist.  Graceful  vines  trail  around  the 
balustrade.  Lying  on  the  railing  to  the  right  is 
some  paper,  pen  and  ink.  There  is  a  deter- 
mined, yet  dignified  expression  in  every  line  of 
his  figure.  You  are  in  the  presence  of  a  strong 
individuality,  a  genius  who  has  turned  from 
the  world  and  its  seductive  influences  and  lives 
and  has  his  being  in  the  realms  of  universal 
genius,  wherein  perfect  liberty  is  found,  the 
only  condition  in  which  the  grand  symphonies 
of  the  soul  can  find  their  true  expression.  Thus 
Art  and  Liberty,  walking  hand  in  hand,  each 
finds  its  perfect  fulfillment. 

NO.  156  A  very  different  picture  by  Gallait  is  the  one 

•COUNTS  EGMONT  entitled,  "The  Duke  of  Alva,  The  Emissary  of 
AND  HORN-  Philip  II  of  Spain,  Contemplating  the  Be- 
headed Counts  Egmont  and  Horn."  The  inci- 
dent related  in  this  picture  marks  an  epoch  in 
the  religious  and  political  history  of  the  Neth- 
erlands, and  was  an  event  that  led  to  the  cul- 
mination of  the  great  religious  persecutions 
that  were  inaugurated  by  Charles  V.  The  in- 
troduction of  this  persecution  is  told  with  great 
power  in  the  large  painting  of  "The  Edict  of 
Charles  V,"  No.  48,  by  the  gifted  artist,  Baron 
Leys.  Egmont  and  Horn  by  some  brilliant 
victories  incurred  the  jealousy  of  Duke  Alva, 
notwithstanding  they  were  also  bitter  perse- 
cutors of  the  reformers.  They  were  executed 
on  charges  trumped  up  by  the  Duke.  After 
their  unjust  death  the  people  forgot  their  for- 
mer feelings  against  them  and  Egmont  and  his 
fellow  victim  were  glorified  in  the  popular 
imagination  as  martyrs  of  Flemish  freedom. 
This  memorable  episode  proved  to  be  the  pre- 
lude to  the  famous  revolt  of  the  Netherlands, 
52 


the  issue  of  which  was  independence,  and  lib- 
erty of  thought  and  speech  for  all. 

Pale  and  rigid,  lying  on  a  couch,  are  the 
bodies  of  the  dead  counts.  A  white  cloth  is  ar- 
ranged around  their  necks  so  as  to  conceal  the 
manner  of  their  execution.  Thrown  over  their 
bodies,  and  covering  the  couch,  is  a  robe  of  sa- 
ble velvet ;  on  top  of  this  lies  a  long  silver  cru- 
cifix. At  the  head  of  the  bed  is  a  second  crucifix 
with  sacred  candlesticks  on  either  side ;  the 
tapers  are  just  being  lighted  by  a  priest.  Stand- 
ing at  the  foot  of  the  couch  is  the  Duke  of 
Alva,  by  whose  order  these  men  were  killed. 
He  is  a  strong  featured  man  of  sandy  complex- 
ion, dressed  in  elegant  yet  sober  robes.  He 
stands  with  his  head  slightly  bowed,  his  chin 
resting  on  his  chest,  gazing  steadfastly  into 
the  faces  of  his  victims.  The  muscles  of  his 
face  are  drawn,  the  brows  knit,  and  his  expres- 
sion reveals  a  trace  of  pain,  as  if  coming  face 
to  face  with  the  ghastly  scene  he  had  suddenly 
realized  its  horror.  He  almost  shrinks  from 
the  terrible  spectacle.  Just  back  of  him  stand 
his  body  guards  in  bright  red  uniforms.  Their 
faces  show  intense  and  varied  expressions. 
Back  of  them  and  to  the  left  is  a  guard  dressed 
in  steel  armor  with  his  hand  resting  on  the  hilt 
of  his  sword,  and  just  beyond  him  is  a  man 
who,  with  defiant  mien,  looks  with  contempt 
at  the  soldiers,  while  the  guard,  with  like  con- 
tempt, pays  his  respects  to  the  Duke. 

The  painting  of  the  dead  men  is  terrible  in 
its  realism.  The  stiffness  of  their  bodies  and 
the  manner  in  which  the  severed  heads  are 
pushed  up  against  them,  the  little  trickling  of 
blood  that  stains  the  white  drapery,  the  ghastly 
expression  of  the  faces  with  their  bloodless 
pallor,  are  rendered  with  a  power  that  is  un- 
surpassed in  the  annals  of  historic  painting. 

53 


GALLAIT 


"His  first  pictures 
were  masterpieces.  'The 
Abdication  of  Charles 
V,'  The  'Lying  in 
State  of  Counts  Eg- 
mont  and  Horn,' 
'The  Last  Moments 
of  Count  Egmont,'  at 
once  revealed  in 
their  author  the  science 
of  composition,  design 
and  expression,  as 
well  as  the  intelligent 
choice  of  his  types 
and  the  perfect  appre- 
ciation of  the  feelings 
of  his  figures  in  their 
various  situations." 

A.  J.  Wauters 


GALLAIT  While  rendered  with  terrible  realism,  it  is  yet 
noble  and  dignified,  and  reveals  the  fitness  of 
the  artist  for  the  rendition  of  great  events. 

RpN  H.  LEYS<*£^ 
While  there  have  been 
many  painters  of  the  hu- 
man figure  and  all  na- 
tions have  furnished 
great  examples,  few  have 
I  succeeded  in  the  paint- 
ing of  history.  Baron 
Leys  stands  in  the  front 
rank  of  modern  painters 
in  this  department  of  art.  Although  originally 
intended  for  the  Church,  the  love  of  art  pressed 
him  so  strongly  that  he  entered  the  studio  of  De 
Brackeleer,  a  well  known  painter  of  Antwerp. 
His  sympathies  turned  to  the  great  events  of 
the  so-called  Reformation,  and  from  his  hands 
came  many  powerful  works.  The  great  events 
of  the  fifteenth,  sixteenth  and  seventeenth  cen- 
turies are  painted  with  such  striking  force  that 
you  are  brought  at  once  into  the  presence  of 
those  great  scenes;  indeed,  Leys  is  spoken  of 
as  "a  painter  of  epochs."  When  the  so-called 
pre-Raphaelite  movement  swept  over  Eng- 
land he  changed  his  manner.  The  greatest  tri- 
umphs of  his  genius  were  dated  at  this  time, 
and  to  this  period  belongs  the  great  canvas 
called  "The  Edict  of  Charles  V." 

NO.  48  The  publication  of  the  Edict  of  Charles  V  in 

the  year  1650  introduced  the  Inquisition  into 
the  Netherlands.  Prescott  says,  "By  this  edict, 
or  'placard,'  as  it  was  called,  it  was  ordained 
that  all  who  were  convicted  of  heresy  should 
suffer  death  by  fire,  by  the  pit,  or  by  the  sword; 
in  other  words,  should  be  burned  alive,  be  bur- 
ied alive,  or  be  beheaded.  These  terrible  pen- 
alties were  incurred  by  all  who  dealt  in  heret- 
54 


ical  books,  or  copied  or  bought  them;  by  all 
who  held  or  attended  conventicles,  by  all  who 
disputed  on  the  Scriptures  in  public  or  private, 
by  all  who  preached  or  defended  the  doctrines 
of  the  Reformation."  Every  character  in  this 
wonderful  picture  fits  in  and  becomes  a  part  of 
it  and  aids  in  telling  the  story.  There  is  not  an 
inch  of  canvas  wasted;  everything  has  a  reason 
for  being.  The  scene  is  in  the  public  market 
place  of  a  very  picturesque  old  town.  In  the 
center  of  the  canvas  stand  the  emissaries  of  the 
Emperor,  reading  the  edict,  grouped  around 
him  are  the  authorities,  while  back  of  them  are 
the  soldiers,  whose  presence  gives  emphasis 
to  the  order.  There  is  a  certain  sternness  both 
in  their  attitude  and  expression  which  means 
obedience  to  the  letter.  On  the  left  of  this  group 
you  see  a  quaint  old  book  stall.  Standing  at  the 
window,  and  facing  the  authorities, is  the  keep- 
er, listening  attentively.  These  words  are  of 
vital  interest.  Near  the  front  of  the  picture 
stand  two  men,  leaning  on  the  iron  railing. 
They  are  strong  characters,dressed  in  dark  sol- 
emn drapery  which  has  a  powerful  influence  in 
the  effect  of  the  picture.  They  are  completely 
absorbed  in  the  reading.  The  expression  on 
their  faces  speaks  volumes.  Back  of  these  fig- 
ures are  grouped  many  women  and  children, 
refined  and  dignified  in  character,  with  the 
sympathetic  in  their  nature  brought  out  and 
made  to  tell  wonderfully  the  sentiment  of  the 
picture.  One  mother,  whose  feelings  are  be- 
trayed in  the  expression  of  her  face,  clings  to 
the  hands  of  her  little  boy,  drawing  him  ten- 
derly to  her  as  if  to  protect  him  from  the  ter- 
rible penalties  about  to  be  enforced. 

Just  behind  her  stands  a  woman  around 
whose  neck  the  arms  of  another  woman  are 
thrown,  while  her  face  is  buried  in  her  bosom. 

55 


LEYS 

"Leys  is  not  only  this 
year  the  grand  and 
illusory  colorist  we  all 
know;  he  reveals 
himself  a  thinker 
and  a  poet.  *  These 
are  surprising  and 
powerful  works, 
created  by  a  deep 
knowledge  of  the  epochs 
he  would  represent.*** 
He  searches  into 
the  very  depth  of  an 
epoch;  he  revives 
its  moral  and 
intellectual  life,  which 
he  knows  how  to  reflect 
in  the  physiognomy 
of  his  characters." 

Critique  of  the 
Brussels  Exhi- 
bition of  1854 


LEYS  On  the  side  of  the  canvas  close  by  the  entrance 
to  the  book  stall  are  two  men  who  have  just 
come  out.  Hearing  the  import  of  the  edict  they 
irresistibly  clasp  hands;  you  feel  that  the  proc- 
lamation comes  to  them  with  telling  force. 
One  of  them  has  certain  books  under  his  arm. 
Perhaps  they  are  proscribed  by  the  edict!  In 
front  of  them  is  an  old  man  whose  face  is  won- 
derful in  its  character  and  expression.  To  this 
figure  you  are  drawn  at  once.  He  sits  with  his 
elbows  on  his  knees  and  his  chin  buried  in  his 
hands.  From  his  costume  he  is  evidently  of 
some  ecclesiastic  importance;  his  thoughts  are 
going  out  beyond  the  present  into  the  future; 
he  seems  to  divine  a  disaster  that  will  certainly 
follow;  he  doubts  the  wisdom  of  the  edict  and 
has  grave  forebodings  for  the  Mother  Church. 
The  reaction  appears  to  him  with  vivid  force. 
The  painting  of  this  figure  reaches  into  the  sub- 
lime and  becomes  great;  it  has  a  powerful  effect 
on  the  entire  composition.  The  background  is 
composed  of  fine,  quaint  old  buildings  stretch- 
ing away  into  the  perspective,  whose  pictur- 
esque and  broken  lines  are  painted  with  a  care- 
fulness that  shows  the  artist's  thoroughness. 
The  entire  picture  is  imbued  with  a  power 
and  a  solemn  repose  that  makes  you  realize  the 
importance  of  the  event.  The  seriousness  of 
the  scene  is  deeply  felt,  and  the  whole  picture 
shows  a  mental  grasp  that  stamps  the  genius 
of  Leys  and  places  him  high  in  the  realms  of 
art.  The  dignity  of  the  various  groups,  the  sim- 
plicity with  which  the  story  is  told,  the  char- 
acter in  the  faces,  all  lead  up  into  the  grander 
expression  which  makes  the  whole.  It  is  a 
great  painting  of  a  great  epoch,  and  by  one  of 
the  greatest  of  Belgian  artists,  one  at  whose 
feet  the  world  might  proudly  lay  a  wreath  of 
laurel. 

56 


Ley's  "Dutch  Interior"  is  a  remarkable  pict- 
ure, so  different  from  the  "Edict"  that  you 
would  scarcely  credit  it  to  the  same  master, 
but  as  marvelous  a  piece  of  painting  as  can  be 
found  by  any  of  the  most  serious  of  the  old 
Dutchmen.  It  is  beautiful  in  color  and  thorough 
in  finish,  as  befits  the  subject.  The  scene  is  in  a 
quaint  old  kitchen  in  the  household  of  a  well- 
to-do  Dutch  family.  The  room  is  connected 
with  a  second  room  by  a  window,  the  wall  be- 
low which  arches  out  and  is  constructed  of 
blue  tile.  At  the  sides  of  the  window  the  walls 
are  brown  with  age,  and  rich  in  color.  In  the 
corner  of  the  room  is  a  table  covered  with  a 
blue  and  gray  cloth.  On  it  lies  a  duck;  back  of 
this  is  a  gray  earthen  jug  and  on  the  floor  a  cop- 
per kettle.  Beside  the  table  sits  a  buxom  young 
maiden,  sound  asleep.  She  is  evidently  there 
to  dress  the  fowl,which  lies  undisturbed.  Near 
her  on  the  floor  sits  a  large  white  cat,  looking 
wistfully  at  the  duck,  and  standing  in  the  other 
room  and  looking  through  the  opening  at  the 
girl  are  an  old  gentleman  and  lady,  evidently 
astonished  at  the  spectacle  before  them.  The 
old  gentleman  holds  a  pipe  in  his  hand  while 
the  old  lady  folds  her  arms  complacently  as  she 
looks  at  the  girl.  He  wears  a  white  cap  and 
blue  coat.  The  woman's  dress  is  of  a  vermil- 
ion red,  and  she  also  wears  a  white  cap ;  the 
dimly  lighted  room  with  its  golden  amber  color 
forming  a  charming  background  for  them 
both.  The  upper  part  of  the  arched  window  is 
divided  into  small  squares  by  iron  fret-work. 
At  the  side  of  it  hangs  a  bird  cage,  and  a  pitcher 
and  brown  earthen  jar  are  on  the  window  sill. 
The  coloring  is  as  rich  as  a  Rembrandt;  it  fairly 
glows  with  a  deep  transparent  amber,  and  the 
whole  subject  is  treated  with  a  seriousness  that 
is  delightful. 

57 


LEYS 

No.  152 
"DUTCH  INTERIOR" 

"The  genius  of  Baron 
Leys,  however,  is  of 
so  diversified  a 
character  that  he  can 
mold  it  into  any 
form,  and  adapt  it 
to  any  purpose — to 
the  humorous  or  the 
pathetic,  to  the 
grandeur  of  history  or 
the  incident  of  ordinary 
social  life;  and  his 
pencil  portrays,  with 
equal  truth,  vigor 
and  delicacy,  the  art 
of  an  age  long  passed 
away  and  that 
of  his  own  time." 

James  Dafforne 


No.  xoi 

"ITALIAN 

BRIGANDS" 

"Throwing  off  all 

academic  trammels,  he 

became  a  painter  of 

vigorous  actualities. 

He  was  the  legitimate 

offspring  of  his 

nation  and  time,  and 

his  art  was  for  his 

own  period;  it  was 

quickly  responsive  to 

the  demands  of 

both  its  masses  and 

its  sovereigns." 

C.  H.  Stranahan 


MILE  JEAN  HORACE 


A  spirited  canvas  is  by 
Vernet,  who  was  the  most 
eminent  military  painter 
of  his  day.  He  belongedto 
a  family  of  artists,  sev- 
eral members  of  which 
had  won  distinction.  His 
fame,  however,  exceeded 
them  all.  He  was  brilliant  and  audacious  in 
his  compositions  and  his  pictures  are  full  of 
action.  His  coloring  is  strong  and  was  influ- 
enced largely  by  the  old  Venetian  masters. 
The  rapidity  with  which  he  painted  has  passed 
into  proverb.  It  was  said  that  he  executed  five 
hundred  pictures  during  his  life-time.  Still, 
taking  into  consideration  the  fact  that  he 
wielded  the  brush  for  sixty  years,  this  does  not 
seem  so  wonderful.  Vernet  received  many  dis- 
tinguished honors.  At  a  time  when  such  bril- 
liant lights  as  Delacroix,Gericault,  Delaroche, 
Ingres  and  Decamps  illumined  French  art,  he 
maintained  an  honored  position  among  them. 
The  picture  of  "Italian  Brigands  Surprised 
by  PapalTroops"  represents  Vernet  in  this  col- 
lection. For  centuries  travelers  on  the  high- 
ways of  Italy  were  terrorized  by  brigands. 
They  were  a  menace  to  life  and  property,  until 
finally  almost  extinguished  by  the  Papal  au- 
thorities. The  scene  here  is  on  one  of  these 
roads.  A  stage  coach  has  been  captured  by  a 
party  of  brigands.  They  have  killed  the  coach- 
man, and  are  struggling  with  some  female 
passengers,  when  suddenly  the  Papal  cavalry 
comes  dashing  around  a  curve  in  the  road,  their 
horses  flying  like  the  wind,  causing  great 
clouds  of  dust  to  rise  in  the  air.  Surprised  as 
the  brigands  are,  they  are  resisting  the  attack. 
58 


No.  95 
•ITALIAN  GIRL" 


The  women  are  terribly  frightened,  and  one  is  VERNET 
kneeling  in  front  of  a  wayside  altar,  praying. 
The  action  in  the  canvas  is  splendid  and  the 
coloring  strong  and  glowing.  There  is  a  dash 
about  the  composition  that  is  remarkable. 

JHARLES  FRANCOIS 
[JALABERT  ^C  *Sfc£  *^£ 
This  artist  was  a  pupil  of 
iDelaroche  and  adhered 
i  more  closely  to  the  styleof 
'his  master  than  did  any 
I  of  the  students  of  that  fa- 
mous painter.  His  pict- 
ures are  noted  for  their 
irefined  beauty.  There  is 
always  a  sentiment  in  them,  a  pure,  sweet  in- 
fluence, that  appeals  to  the  ideal  side  of  one's 
nature.  "The  Italian  Girl"  is  a  little  canvas 
wherein  the  tenderness  of  childhood  is  beauti- 
fully expressed.  There  is  a  touch  of  sadness 
in  the  face  of  the  child,  a  sadness  that  is  yet 
beautiful.  You  see  in  her  something  that  is 
common  to  the  children  of  Italy — a  certain 
oldness.  The  face  is  delicately  painted  and  you 
feel  the  touch  of  sympathy  the  artist  had  for 
his  model.  The  eyes,  large,  blue  and  full,  seem 
indeed  to  be  windows  through  which  the  soul 
finds  expression.  The  subject  is  handled  with 
the  refinement  and  tenderness  that  character- 
ize his  art. 

In  "The  Morning"  Jalabert  has  touched  a 
tender  chord  that  is  most  beautiful,  one  that 
lies  nearer  the  human  heart  than  all  others.  In 
it  are  expressed  that  most  sacred  of  all  senti- 
ments, maternal  love.  By  those  who  seek  only 
"art  for  art's  sake,"  this  little  picture  will  be 
passed  unnoticed.  In  it  such  a  person  would 
see  nothing;  but  to  him  whose  heart  is  attuned 
to  the  tender  harmonies  of  both  art  and  life, 

59 


No.  112 
'THE  MORNING' 


JALABERT 

"Horace  Vernet  said, 

and  truly,  that  light 

resides  in  the  quality 

of  the  tone  and  not 

in  the  thickness  of  the 

pigment;  and  the 

love  ior  smoothness 

of  surface  which  marks 

Jalabert  and  some 

others  is  perfectly 

'compatible'  with 

artistic  power,  both 

color  and  chiaroscuro, 

while  it  is  more  than 

'compatible'  with 

drawing, being  positively 

favorable  to  form." 

Hamerton 


No.  108 
"ORPHEUS" 


this  little  canvas  "will  bring  up  memories  that 
reach  back  into  the  dim  twilight  of  the  past  and 
speak  of  the  days  that  are  no  more.  A  young 
mother  has  just  lifted  a  little  child  from  the 
cradle  where  it  has  been  sleeping.  She  presses 
it  lovingly  to  her  bosom  and  it  nestles  there 
with  childish  trust.  She  lays  her  cheek  against 
the  little  head,  while  her  love  goes  out  and  finds 
repose  in  the  heart  of  the  tender,  loving  child. 
It  is  a  picture  of  peace,  home,  and  motherhood, 
of  all  that  is  sacred  in  those  sentiments  which 
come  to  us  in  our  better  moments.  The  flesh  of 
the  child,which  is  nude,  is  painted  with  all  the 
delicacy  of  a  rosebud,  and  is  a  fine  example  of 
the  purity  and  high  ideal  of  the  artist.  This 
picture  brings  an  influence  of  peace;  and  in  it 
are  breathed  most  beautifully  those  refining 
influences,  those  pure,  chaste  sentiments  that 
cluster  around  home  life.  Here  everything  be- 
speaks happiness,  pure  and  simple;  the  child 
whose  all  is  mother,  and  she  who  paints  rain- 
bow-hued  pictures  of  destiny  that  radiate  from 
her  love  for  her  offspring. 

From  this  bit  of  home, this  scene  from  domes- 
tic life,  let  us  turn  and  look  at  a  picture  wherein 
the  poetic  soul  of  the  painter  has  reached  out 
into  scenes  none  the  less  real  to  him  than  the 
one  just  described.  To-day  if  a  man  essays  to 
paint  an  ideal  picture,  to  avoid  the  criticism  of 
the  knowing  he  must  introduce  realisms  in  the 
way  of  textures,  bric-a-brac,  drapery,  that  will 
show  his  power  in  technique.  The  painting  of 
drapery  that  belongs  to  the  dominions  of  ether- 
eal life  as  seen  in  visions  clairvoyantly  by  the 
poet  or  painter  would  be  hailed  with  derision 
by  these  critics,  yet  such  a  picture  is  "Orphe- 
us," a  picture  of  the  purest  ideal  type;  one  that 
at  once  stamps  the  painter  as  one  of  the  high- 
est spirituality. 
60 


In  a  dimly  lit  forest,  amid  cool  velvety  shad- 
ows, are  groups  of  nymphs  of  marvelous  beau- 
ty. They  are  of  the  most  charming  type  of  face 
and  form,  tall  and  slender,  with  limbs  beauti- 
fully rounded ;  and  are  so  delicately  painted, 
so  ideal  in  conception  that  you  feel  they  can 
move  with  thought.  The  flesh  painting  is  won- 
derful in  its  beauty ;  the  drapery  is  as  light  and 
filmy  as  gossamer,  and  through  it  you  can  trace 
the  beautiful  forms.  In  this  canvas  the  student 
will  find  a  beauty  of  line  unequaled  in  any 
picture  in  the  room.  Its  technique  in  this  re- 
spect is  directly  opposite  to  the  principles  on 
which  Fortuny  based  his  art.  As  an  example, 
look  at  the  figure  in  the  foreground,  with  her 
side  toward  you;  see  how  beautiful,  how  grace- 
ful and  undulating  the  lines  are.  There  is  more 
real  ideal  beauty  than  can  be  found  in  a  hun- 
dred pictures  painted  in  these  days  of  realism. 
You  find  in  her  no  suggestion  of  the  studio 
model,  or  the  lay  figure  on  which  drapery  has 
been  painted.  There  is  a  higher,  truer  inspira- 
tion expressed  in  this  canvas  than  in  any  like 
subject  seen  by  the  writer.  The  drawing  of  the 
figures  is  elegant,but  of  a  purely  ideal  type.  The 
various  groups  draw  together  as  they  would 
instinctively,  without  affectation.  In  the  dim 
background  in  the  denser  wood  sits  Orpheus, 
whose  enchantment  has  drawn  around  him  all 
this  beauty.  The  spirit  of  the  woods  has  been 
felt  and  painted  by  Jalabert,  and  to  one  who 
has  the  inner  sight  this  canvas  will  be  a  joy,  a 
pleasure  never  to  be  forgotten.  It  belongs  to  the 
past,  and  in  these  days  when  one  is  confronted 
by  the  more  material  interpretation  of  things 
it  is  like  a  flower  in  the  desert. 

The  last  of  this  group  is  "The  Christian  Mar- 
tyr." This  picture  was  started  by  Delaroche 
and  completed  by  Jalabert,  and  is  a  good  ex- 

61 


JALABERT 

"  'Orpheus'  is  a  most 
delicately  wrought  and 
poetic  composition. 
The  grace  and  beauty 
of  the  nymphs  and 
the  soft  and  dreamy 
tone  that  is  preserved 
betray  a  peculiarly 
happy  conception  and 
a  pretty  idea  well 
sustained  and 
fully  developed.     The 
picture  is  in  harmony 
with  Orpheus'  music, 
which  is  sensuous, 
dreamy  and  reposeful, 
and  with  nothing 
too  real  about  it." 

Critique 


No.  9 

"THE  CHRISTIAN 
MARTYR" 


JALABERT 

'His  figures  exhibit  a 

play  of  line  that 

would  be  appropriate 

in  sculpture,  and 

are  among  the  finest 

of  the  entire 

French  school." 

C.  H.  Stranahan 


ample  of  the  peculiar  school  to  which  they  be- 
longed. On  the  calm  surface  of  a  deep  pool  of 
blue  green  water  floats  the  form  of  a  fair  young 
girl.  The  face,  pale  in  death,  lies  like  a  lily  on 
its  surface.  The  picture  is  beautifully  painted, 
and  to  some  who  are  drawn  to  the  sentimental 
side  of  religion  it  will  be  a  favorite.  Aside  from 
its  merit,  it  shows  the  wonderful  breadth  of  the 
collection,  which  covers  all  classes  of  senti- 
ment and  religions.  This  picture  was  the  sub- 
ject of  great  discussion  at  the  time  of  its  first 
exhibition,  and  shows  more  of  the  classic  in- 
fluence than  any  of  Jalabert's  pictures  in  the 
collection.  To  the  student,  there  is  much  to  be 
seen  in  these  pictures  that  will  be  of  value,  be- 
cause of  the  materialistic  tendencies  in  the  art 
of  the  present  time. 


Ill 


BAN  LOUIS  ANDRE 
THEODORE  GERI- 
CAULT^ tf^The  Ro- 
manticist movement  in 
France,  in  which  Dela- 
croix was  a  brilliant  lu- 
minary, was  started  by 
Gericault,  who  was  the 
first  to  oppose  the  classi- 
cists. His  pictures  were 
the  objects  of  their  severest  denunciation,  but 
he  braved  all  opposition  and  continued  paint- 
ing canvases  that  are  now  among  the  treasures 
of  the  Louvre,  where  hangs  his  greatest  tri- 
umph,"The  Wreck  of  the  Medusa."  Gericault 
was  not  the  fighter  that  Delacroix  was,  but 
rather  shrank  from  conflict.  He  finally  suc- 
cumbed to  the  inevitable,  and  as  the  result  of 
privation  and  neglect  passed  away  in  the 
prime  of  life.  The  Walters  gallery  is  enriched 
by  one  canvas  by  him,  a  study  of  a  lion,  very 
beautiful  and  showing  the  somber  depth  of 
his  coloring. 

Crouched  upon  the  earth  with  his  head  erect 
is  a  magnificent  lion.  He  is  in  his  den  and  seems 
as  if  watching  for  prey.  The  rich,  warm,yellow- 
ish  brown  color  of  his  skin  and  its  texture  are 
splendidly  painted.  The  light,striking  him  full 
in  the  face,  gives  accent  to  a  creamy  white  spot 
on  his  nose.  The  shadows  on  the  animal  are 
wonderfully  painted  and  are  lost  into  the  sur- 

63 


"When  drawn  from 
his  habitual  reserve, 
Gericault  was  so 
cordial  that  one  re- 
tained in  his  heart  a 
warm  impression  of  it 
for  the  entire  day, 
yet  he  never  painted  " 
woman,  child  or 
sunlight.  *  'If  I  begin 
a  woman/  he  once 
said,  'she  becomes  a 
lion  under  my  pencil.'  " 
Chesneau 


No.  162 
'LION  IN  REPOSE" 


GERICAULT 


"He  probably  first 
turned  Delacroix's  pow- 
ers into  the  romantic 
channel  in  the  re- 
bellion against  the  lad 
for  the  antique." 
Critique 


"Delacroix  is  a  com- 
plete artist.     He 
feels  and  understands 
music  in  a  manner 
so  superior  that  it 
would  have  made  him 
a  great  musician 
had  he  not  chosen 
rather  to  be  a  great 
painter.     He  is  an 
equally  good  judge  of 
literature;  few  minds 
are  so  accomplished  and 
clear  as  his." 
George  Sand 


rounding  gloom  with  telling  effect.  The  back- 
ground is  dark  and  gloomy  and  of  a  transpar- 
ent olive  color.  There  is  a  sullen  expression 
throughout  the  entire  picture,  and  a  power  so 
subtle  lies  underneath  what  is  so  graphically 
expressed  on  the  surface  that  it  transports  one 
to  the  wild  habitation  of  the  king  of  beasts. 

•  UGENE  DELACROIX 
,There  is  a  strange  fasci- 
nation about  the  art  of 
i  Delacroix.  He  was  the 
(central  figure  around 
.which  the  men  of  1830 
fwere  grouped.  The  hom- 
age paid  to  him  was  the 
'result  of  purely  artistic, 
not  personal, enthusiasm, 
for  no  man  ever  gained  an  entrance  to  the 
privacy  that  he  threw  around  him.  Delacroix 
lived  within  himself.  He  felt  that  he  had  a 
mission  to  fulfill,  and  having  grave  apprehen- 
sions as  to  his  health  his  sole  thought  was  for 
the  power  to  labor.  This  was  made  possible  by 
a  competency  from  his  father  which  enabled 
him  to  work  without  interruption.  His  life, 
like  his  art,  was  characterized  by  simplicity. 
He  was  drawn  to  Gericault  by  a  sympathy 
that  was  mutual.  To  Delacroix  the  painter  of 
the  "Medusa"  was  little  less  than  divine. 

The  genius  of  Delacroix  has  been  likened  to 
that  of  Shakespeare.  Possessing  a  subtle  con- 
ception, he  had  the  mental  grasp  that  enabled 
him  to  perform  with  ease  tasks  which  cost 
others  great  labor.  The  very  essence  of  his  art 
was  the  dramatic.  The  tragedy  of  life  thrilled 
his  canvas.  The  passion  with  which  he  painted 
everything,  the  color  which  he  sounded  to  its 
very  depths — these  with  an  ever  fertile  imagi- 
nation, were  concentrated  into  every  thing 
64 


that  emanated  from  his  hands.  He  accom- 
plished a  life  work  that  will  be  an  example  to 
the  artists  of  future  generations.  Gericault  had 
fallen  in  the  fight ;  poverty  had  eaten  up  his 
vital  forces.  Eugene  Delacroix,  taking  the 
banner  from  his  stilled  hands,  carried  it  on  to 
triumph,  placing  it,  by  the  force  of  his  sublime 
genius,  at  an  altitude  that  shall  never  be  low- 
ered by  time,  or  conditions.  It  is  immortal. 
The  art  of  Delacroix  was  an  enigma  to  the 
rigid  classicists.  It  was  born  of  the  heart,  and 
had  the  rich  warm  blood  of  human  life  cours- 
ing through  it.  This  was  in  direct  opposition 
to  the  cold  formalism  of  their  purely  mental  art. 
He  was  the  target  at  which  the  bitterest  an- 
athemas were  ever  hurled.  He  was  mentally 
burned  at  the  stake.  So  far  as  the  effect  on  him 
was  concerned  it  was  like  the  beating  of  the 
winds  against  the  Rock  of  Gibraltar.  Dela- 
croix worked  on,  step  by  step,  and  by  force  of 
labor  directed  by  genius  beat  down  the  battle- 
ments erected  by  prejudice.  Like  Nero  of  old, 
he  sat  smiling  on  the  ruins  of  classicism,  amid 
his  bitterest  enemies.  His  admission  to  the  In- 
stitute was  to  him  the  crowning  glory  of  his  life, 
and  for  the  first  time  joy  broke  through  the  re- 
serve with  which  he  surrounded  himself.  For 
fifty  years  he  had  worked  with  singleness  of 
purpose;  often  putting  two  days'  work  into  one, 
lest  the  disease  that  preyed  on  his  vitals  should 
still  his  hand  on  the  morrow.  As  he  entered 
the  battle,  he  met  the  Conqueror,  conscious  of 
having  fulfilled  a  mission,  knowing  that  his 
works,  that  were  bristling  with  life,  would  live. 
He  had  lived  alone,  so,  when  death  came,  he 
asked  the  same  privilege  of  privacy.  Calm  and 
collected,  thoroughly  self-possessed,  he  passed 
out.  The  hand  that  had  guided  the  brush  filled 
with  living  colors  lay  still.  Death  sealed  his  lips 

65 


DELACROIX 


"He  saw  his  subject  as 
a  whole,  not  as  the 
portrait  of  a  group  of 
selected  and  isolated 
objects.  *  The  others 
appear  trivial  and 
superficial  beside  him. 
To  the  day  of  his 
death  he  was  an  object 
of  formal  reprobation 
to  the  old-fashioned 
critics,  who  endeavored 
to  keep  alive,  like 
superannuated  vestals, 
the  fading  Same  on  the 
altar  of  con- 
ventionalism." 

Henry  James,  Jr. 


DELACROIX 

No.  74 

"CHRIST  ON  THE 
CROSS" 


"His  Christ  has  lived, 
his  flesh  has  thrilled, 
his  heart  has  bled 
in  truth;  he  is  the  in- 
carnation of  all 
martyrdom,  of  a  con- 
summate crime  left  in 
the  midst  of 
indifferent  nature." 
Wolff 

"This  artist  possesses 

in  addition  to  the 

poetic  imagination, 

which  is  common  to 

the  painter  and  the 

writer,  the  art 

imagination  which  is 

quite  distinct  from 

the  other.     He  throws 

in  his  figures,  groups 

them,  bends  them 

to  his  will,  with  the 

boldness  of  Michael 

Angelo,  and  the  wealth 

of  Rubens." 

M.  Thiers 


with  a  smile.  Another  great  soul  had  gone  into 
the  realms  of  the  beautiful. 

His  "Christ  on  the  Cross"  is  one  of  the  great- 
est pictures  in  the  collection  and  one  of  the  tri- 
umphs of  modern  art;  yes,  of  all  art,  both  on  ac- 
count of  the  simplicity  of  its  conception  and  the 
manner  in  which  it  is  painted.  The  larger  part 
of  the  canvas  is  occupied  by  the  figure  of  Christ, 
which  hangs  on  the  cross;  the  only  accessories 
introduced  being  two  or  three  figures  that  are 
merely  incidental.   In  this  picture  there  are 
none  of  the  conventionalities  of  composition 
that  usually  serve  to  touch  the  religious  emo- 
tions, but  there  is  instead  a  dramatic  force  that 
is  born  only  of  a  great  soul.  The  terrible  trag- 
edy of  the  incident  is  brought  before  you  with 
such  power  that  you  realize  the  awfulness  of 
the  event;  you  shudder,you  lose  the  sense  of  the 
limitations  of  the  little  canvas  and  are  brought 
face  to  face  with  the  real.    No  sympathetic 
groups,  no  brutality,  no  mockery  or  tortures 
are  introduced  as  a  means  of  telling  the  story. 
Instead,  everything  is  expressed  in  the  simple 
figure  suspended  from  the  cross.  There  is  no 
attempt  to  realize  the  Divine  ideal,  nor  do  you 
feel  that  the  artist  has  in  any  way  sought  to  ex- 
press Divinity,  yet  there  is  in  this  great  figure 
the  stamp,  the  seal  of  the  Divine  that  came  from 
the  creative  power  of  the  artist.  The  surround- 
ings are  sublimely  dramatic.  Nature  seems  to 
have  taken  on  the  conditions  of  the  hour;  gloom 
hangs  over  the  desolate  scene.  Far  away,  as  if 
trying  to  hide  her  face,  the  sun  is  bathed  in  a 
weird  ruddy  light,  adding  a  powerful  note  to 
the  picture.  You  could  take  the  figure  out  of  the 
canvas  and  still  have  one  of  the  most  complete 
expressions  of  gloom  ever  painted,or  you  could 
place  the  figure  alone  anywhere  and  it  would 
still  be  one  of  the  most  impressive  pieces  of 
66 


dramatic  painting  in  all  the  realms  of  art.   In-  DELACROIX 

deed,  this  picture  will  stand  beside  the  noblest 

works  of  any  epoch.  NO.  145 

The  "Jesus  on  the  Sea  of  Galilee,"  like  the  "JESUS  ON  THE  SEA 
"  Christ  on  the  Cross,"  was  one  of  the  One 

Hundred  Masterpieces  of  French  art.  In  this  i(He  drew  his  subjects 

picture  you  see  Delacroix  in  his  most  impas-  from  scou,  Byron, 

sioned  mood.    Here  you  have  the  wonderful  shakspere  and  Goethe, 

J .          ,        .,        ,      _    ,  .•    .      and  was  the  equal  to 

technique  that  made  him  the  ideal  of  the  artist.  aii  of  them.  He 
This  is  the  picture  that  was  chosen  by  the  art-  *™eFr 
ists  of  Paris  as  expressing  in  the  highest  degree  ing— color.  *  His 
*e  art  of  Delacroix.  ^S 

While  this  picture  has  in  it  the  same  high  and  color.  *  it  is 
note  that  characterizes  the  "Christ  on  the  the  id^i  tormented 
Cross,"  yet  it  is  not  so  full  of  the  subjective  '  I¥he3P'hiie  Gamier 
qualities  that  are  supreme  in  the  latter.  The 
execution  is  fine  in  every  respect  and  the  color 
is  beautiful  in  its  simplicity.  The  tones  are 
somber  and  expressive,  the  handling  passion- 
ate. The  brush  is  pushed  here  and  there,  swing- 
ing, twirling, whirling,  always  obeying  the  dic- 
tates of  a  powerful  brain ;  realizing  at  once  the 
terrible,heaving  movementof  the  storm-tossed 
waves.  The  wind,  the  lashing  and  flapping  of 
the  sails,  the  action  everywhere,  show  the 
wonderful  ability  of  this  strange  genius.  The 
fishermen  are  busy  trying  to  adjust  the  sails, 
while  Jesus  sleeps  at  the  prow  of  the  boat.  The 
boat,  sails  and  figures  compose  a  heterogene- 
ous mass  of  reddish  yellowish  brown  color, 
which  is  finely  relieved  against  the  greenish 
tones  of  the  sea,  forming  a  beautiful  harmony. 
The  sky  is  overcast  with  sullen,  windy  clouds. 
Away  in  the  distance  a  ledge  of  rocks  comes 
up  against  the  sky.  Everything  is  full  of  action. 
The  hush  and  stillness  of  death  is  felt  in  the 
"Christ  on  the  Cross,"  but  in  this  picture  is 
the  real  animated  life  of  nature.  There  are  no 
strong  contrasts  of  light  and  shade.  A  deep  feel- 

67 


DELACROIX 


No.  253 
"LION  AND 
SERPENT" 

"Although  forming  his 

style  on  Rubens, 

Tintoretto  and  the 

English  school, 

Delacroix,  whose  head 

looked  like  a  sick 

lion's,  is  a  genius  who 

must  always  remain 

alone." 

Jules  Breton 

"I  find  the  sighs  of  the 
damned  in  the  pictures 
of  Delacroix.     In 
looking  at  his  paint- 
ings I  feel  the  want 
of  sun,  of  health,  flow- 
ers and  pure  air,  of 
life  without  fear." 
Thomas  Couture 


ing  underlies  everything.  The  color  is  power- 
ful in  its  tone  and  richness.  In  fact,  you  feel 
that  the  artist  has  realized  -with  directness  and 
force  everything  at  which  he  aimed. 

A  bit  of  nature  in  her  wildest  condition,  a 
place  where  the  foot  of  man  has  never  trod,  is 
seen  in  the  "Lion  and  Serpent."  Lying  on  the 
sand  of  a  desolate  sea-shore  is  a  huge  lion, 
whose  size  and  massive  strength  are  wonder- 
fully painted.  With  one  of  his  ponderous  paws 
he  holds  a  serpent  to  the  ground,  leaving  it  just 
room  enough  to  move  its  head.  The  tortured 
reptile  hisses  with  rage,  while  the  lion,  with 
head  turned,  as  if  listening,  snarls  in  return. 
As  a  piece  of  drawing  and  painting  it  is  certain- 
ly marvelous.  The  bone  structure,  the  muscu- 
lar strength,  and  the  sense  of  size  and  weight, 
are  painted  with  great  power.   There  is  an  air 
of  almost  playfulness  in  the  expression  and  at- 
titude of  the  lion,  yet  he  would  be  ugly  in  an 
instant,  should  the  serpent  give  him  cause.  Just 
back  of  the  lion,  a  huge,  dark  rock  forms  a  back- 
ground into  which  the  outlines  of  his  head  are 
lost,  while  back  of  this  you  get  a  glimpse  of  a 
wild  and  desolate  stretch  of  sea.    The  whole 
picture  is  somber,  and  the  tones  form  a  har- 
mony of  strange  weirdness.  One  feels  that  this 
picture  is  the  direct  result  of  a  powerful  mood, 
a  something  that  was  within  the  man  finding 
expression  through  the  medium  of  his  art.  It 
is  a  little  picture  of  wonderful  fascination  and 
would  of  itself  have  established  the  reputation 
of  Delacroix.  Although  painted  in  water-colors 
it  has  a  depth  that  is  wonderful,  and  there  is  in 
it  the  same  dramatic  qualities  that  are  in  the 
"Christ  on  the  Cross,"  and  the  "Sea  of  Galilee," 
the  same  desolate  weirdness.  The  marvelous 
grasp  of  the  subject  and  the  ease  with  which 
he  expressed  himself  are  delightful. 
68 


At  the  foot  of  some  lonely  hills  two  men  are 
engaged  in  deadly  combat.  Both  are  mounted. 
Their  horses,  rearing  and  plunging,  are  full  of 
violent  action  that  is  in  keeping  with  the  scene. 
It  is  a  masterpiece  of  drawing,  full  of  the  pas- 
sionate genius  that  characterized  Delacroix, 
and  painted  with  greatbreadth.  Every  strokeof 
the  brush  is  driven  with  telling  force,  and  there 
is  the  sureness,  the  confidence  that  make  his 
pictures  always  strong.  The  coloring  though 
subdued  is  very  rich.  The  fierceness  of  the 
combatants  finds  an  echo  in  every  part  of  the 
canvas.  There  is  always  in  his  pictures  a  cen- 
tral thought.  In  this  one  you  have  a  part  of  the 
drama  of  life  in  her  more  barbaric  condition. 
It  is  an  incident  of  the  Orient,  told  by  one  who 
was  one  of  the  greatest  creative  forces  in  the 
art  of  the  century. 


DELACROIX 

No.  113 
"THE  COMBAT" 


"He  treats  color  as 
Michael  Angelo  did  de- 
sign.    He  discharges 
it  in  a  burst  of  fire- 
works.    No  pupil  can 
follow  him.     His 
pictures  overpower 
you  by  their  fury  of 
brush.     The  large  and 
terrible  pleased  him 
most." 

Jarves 


This  artist  was  a  man  of 
refined  intellectual  tem- 
perament,  whose  tastes, 
pure  and  elevated,  natur- 
ally  fittedhimfor  associa- 
tion with  the  learned  and 
distinguished  men  of  his 
times.  He  was  a  devoted 
friend  ofGericault  and 
Delacroix.  His  father  was  an  artist  of  ability 
and  his  mother  distinguished  as  an  amateur, 
so  the  son  was  thoroughly  imbued  with  a  taste 
for  art.  His  early  pictures,  which  were  large- 
ly chosen  from  the  poets,  were  received  with 
great  pleasure.  He  himself  was  a  poet  in  his 
way,  being  a  master  of  the  epic  style  in  art  and 
dealing  in  themes  that  were  sublime.  His  com- 
positions are  chaste  and  dignified  and  his  pict- 
ures, though  often  deficient  in  color,  appeal  to 
the  intellect  rather  than  to  the  emotions.  The 

69 


SCHEFFER 


.      No.  65 

"CHRIST  WEEPING 
OVER  JERUSALEM" 

"Ary  Scheffer  was  not 

alone  an  artist,  he 

was  a  mind,  a  heart, 

a  character;  a  mind 

open  to  all  culture,  all 

graces,  all  enthusiasms; 

a  heart  tender, 

generous,  devoted.  *  * 

Have  I  told  how 

sweetland^true'were 

his  friendships,  how 

solid  and  charming  his 

conversations,  how 

sincere,  indulgent  and 

faithful  his  affections?" 

Louis  Viardot 


latter  part  of  his  career  was  devoted  entirely 
to  religious  subjects,  chosen  from  the  historic 
events  of  the  Bible.  He  was  a  true  and  gener- 
ous friend,  and  exemplified  in  his  life  charity 
in  its  highest  and  most  unselfish  meaning. 

In  his  "Christ  Weeping  Over  Jerusalem"  we 
have  a  beautiful  example  of  the  ideal  Jesus. 
The  face,  pure  and  noble  in  type,  is  remarkable 
in  many  ways  and  is  classed  as  one  of  his  fin- 
est creations.  It  is  dignified,  refined  in  feature 
and  has  nothing  that  would  indicate  that  more 
modern  interpretation  which  delineates  and 
accents  the  Son-of-Man  idea.  He  stands  front- 
ing you,  his  head  turned  slightly  to  the  right, 
as  if  looking  down  upon  the  damned  city.  His 
face,  though  delicate  in  feature,  is  of  a  tawny 
hue  which  tells  of  an  out-of-door  life.  There  is 
a  firmness,  an  almost  sternness  in  his  face,  yet 
you  feel  that  underneath  there  is  the  spirit  of 
kindness.  The  picture  contains  nothing  paint- 
ed to  catch  the  eye,  hence  you  must  study  it 
before  it  unfolds  to  you  all  the  beauty  it  pos- 
sesses. You  are  at  once  conscious  of  the  seri- 
ous devotion  of  the  artist  to  his  subject.  It  has 
the  noble  dignity  of  a  Raphael,  minus  the  Ital- 
ian's human  touch  and  sensitive  feeling  for 
color.  The  folds  of  the  drapery  belong  to  that 
period  when  the  characterization  of  stuffs  was 
regarded  as  being  unworthy  of  an  artist's  at- 
tention. Surrounded  as  this  picture  is  by  more 
modern  works  of  art,  in  which  a  nearer  ap- 
proach is  made  to  nature,  to  life  as  it  is,  it 
always  has  a  strange  effect.  It  holds  its  place 
with  a  dignity  that  suggests  the  appearance  of 
a  refined  specimen  of  the  old-school  type  of 
gentlemen  among  a  group  of  the  varied  types 
of  to-day. 


70 


UGfeNE 

Isabey  was  a  great  paint- 
er; in  some  respects,  one 
of  the  best  of  modern 
^Frenchmen.  Hewassuc- 
cessful  both  in  marine 
nd  figure  pictures,  and 
i  in  the  interpretation  of 
the  ocean  in  her  more  im- 
passioned moods  he  was 

supreme.  He  seemed  to  possess  those  emo- 
tions to  an  intense  degree  which  made  him  sus- 
ceptible to  the  storm  in  all  its  terrible  grandeur. 

As  a  painter  of  pictures  in  which  many  figures 

are  introduced,  he  has  no  equal  in  modern  art. 

He  loved  rich,  brilliant  masses  of  color,  and  in 

the  painting  of  red  in  light  he  was  especially 

successful.    He  had  the  gift  of  painting  large 

groups  in  masses,  wherein  they  cling  together 

and  depend  upon  one  another  rather  than  are 

subordinate  to  the  development  of  an  indi- 
vidual figure.  In  this  he  is  original,  and  in 

this  peculiarity  his  figure  pictures  are  of  untold 

value  to  the  student  of  painting,  especially  at 

the  present  time,  when  minute  realism,  or  the 

direct  opposite,  extreme  impressionism,  seems 

to  predominate  in  the  schools.  Isabey  was  an 

artist  who  relied  on  his  own  genius  and  sought 

not  to  avoid  that  intense  study  of  nature  which 

alone  insures  great  art.     His  figure  pictures 

bear  the  stamp  of  a  refined  genius,  and  reflect 

the  elegance  of  days  that  are  no  more.  NO.  163 

One  of  the  best  examples  of  this  master's     "DEPARTURE  OF 

art  and  one  of  his  best  pieces  of  painting  pure 

and  simple,  is  "Elisabeth  leaving  France  for 

Spain,  to  become  the  wife  of  Philip  II."   After 

fifteen  years  of  effort  this  picture  has  been 

secured,  and  the  lovers  of  art  who  find  joy  in 

this  collection  will  be  delighted  with  this  new 


ISABEY 


"He  has  warm  color, 
a  sparkling  facility.  His 
smallest  sketch,  his 
roughest  design,  re- 
veals the  true  artist  and 
has  no  need  of  a 
name  to  be  recognized, 
every  brush  stroke  is 
a  signature.  *  *  He 
is  original  and  creates 
a  microcosm  of  all 
his  pieces  in  which  he 
displays  his  talent." 
Gautier 


friend.  In  this  painting  will  be  found  a  depth 
of  color  that  would  do  honor  to  Rembrandt. 
Add  to  the  fire,  the  brilliancy  of  a  Rubens,  Is- 
abey's  individual  genius,  and  you  have  the  true 
measure  of  the  picture.  Elisabeth  is  taking 
leave  of  her  home.  The  front  of  the  palace  is 
gaily  decorated  with  national  colors;  every- 
thing wears  a  holiday  aspect.  An  elegantly 
equipped  conveyance  stands  at  the  stairway. 
The  fine  white  horse  is  impatiently  awaiting 
her  coming,  as  if  conscious  of  the  importance 
of  the  occasion.  The  coachman  sits  on  his  box, 
feeling  the  dignity  of  his  position.  On  reaching 
the  lower  steps,  the  memories  of  her  home,  the 
thought  of  leaving  it  forever,  bear  heavily  on 
Elisabeth's  heart,  and  overcome  with  emotion, 
she  swoons.  She  is  supported  by  her  maids, 
and  surrounded  by  courtiers  and  friends.  All 
is  bustle  and  excitement;  all  seek  to  give  such 
assistance  as  is  possible.  The  stairway  lead- 
ing down  from  the  palace  is  filled  with  people 
in  gorgeous  costumes  wherein  red  predomi- 
nates. The  future  Queen  is  dressed  in  a  cos- 
tume of  wonderful  purple  red.  Surrounding 
this  color  are  masses  of  brilliant  red,  brown, 
white,  and  citron,  jewels  and  broad  laces,  all 
in  the  light,  making  luscious  masses  of  color- 
ing. The  upper  part  of  this  wonderful  group  of 
figures  is  in  shadow  and  reveals  the  splendid 
skill  possessed  by  the  painter.  These  figures, 
although  no  especial  attempt  has  been  made  at 
modeling  or  rounding  them  out,  are  yet  perfect 
in  this  respect;  they  hold  their  places  as  a  part 
of  the  shadow,  yet  come  out  beautiful  in  draw- 
ing. Amid  clouds  of  ethereal  blue  that  hang  in 
the  upper  part  of  the  picture,  a  train  of  young 
loves  float  gracefully  down,  scattering  roses 
over  the  scene.  One  hovers  over  the  door  of 
the  royal  coach,  while  another  has  entered, 
72 


his  little  rosy  feet  protruding  out  of  the  open 
door.  A  handsome  young  page  stands  beside 
the  horse.  All  around,  filling  the  canvas,  are 
the  attendants,  joining  in  the  brilliancy  of  the 
scene.  It  is  a  gala  throng.  Painted  with  the 
sympathy  of  a  poet,  the  richness  of  the  color, 
the  painting  of  the  deep  shadows,  the  great 
skill  with  which  it  is  drawn,  the  absolute  truth 
with  which  the  tones  are  placed,  make  it  not 
only  one  of  the  best  of  pictures,  but  a  canvas 
of  great  educational  value  to  the  art  student. 
"After  the  Storm"  is  a  piece  of  sea  painting 
that  has  in  it  all  of  the  great  qualities  spoken  of 
in  the  former  picture.  Added  to  them  is  the  fact 
that  it  represents  nature  in  one  of  her  most  sub- 
lime moods.  The  vitality  of  the  picture,  the 
rendering  of  this  grand  atmospheric  phenome- 
non, is  as  true  as  could  be.  There  is  a  somber- 
ness, afierceness, that  almost  takes  one'sbreath 
away.  In  the  midst  of  a  wild  tumultuous  sea, 
a  small  sail  boat  and  a  row  boat  are  seen. 
They  are  freighted  with  people  escaped  from  a 
wreck,  who  seem  to  be  casting  about  for  help. 
The  volume  of  the  storm  has  passed;  the  wa- 
ters have  quieted  somewhat,  but  they  are  still 
wild  and  boisterous, and  lashing  furiously.  The 
wind,  blowing  a  perfect  gale,  causes  the  boat  to 
tip  to  a  dangerous  angle.  Away  back  in  the  dis- 
tance you  see  the  storm  that  has  just  passed,  in 
all  its  furious  and  terrible  grandeur.  The  black, 
ominous  clouds  dip  and  mingle  with  the  ele- 
ments of  the  water.  Joining  their  forces,  they 
sweep  away  all  obstructions  that  come  within 
their  path.  It  is  late  afternoon;  the  gloom  of 
night  gathers.  Far  in  the  distant  sky  a  rift  is 
torn  in  the  clouds,  through  which  a  beam  of 
light  touches,  like  a  ray  of  hope,  the  human 
beings  who  are  at  the  mercy  of  the  waves.  An- 
other ray  bursts  through  the  clouds  near  the 

73 


ISABEY 


No.  62 

"AFTER  THE 
STORM" 

"He  was  royal  marine 
painter  of  the  expedi- 
tion to  Algiers  in  1830, 
and-at  his  death, 
1886,  still  stood  first 
among  the  painters  of 
marines." 

Stranahan 


ISABEY  horizon.  This  one  touches  the  tops  of  the  waves 
here  and  there,  finally  resting  on  the  boat  and 
sails,  transforming  them  into  wondrous  beau- 
ty, and  bringing  them  effectively  against  the 
somber  purpling  gloom  of  the  storm.  Power- 
ful in  color,  great  in  its  solemnity,  it  is  indeed 
the  vast  and  mighty  ocean  in  its  grandest  ex- 
pression. All  the  forces  of  nature  seem  con- 
vulsed, the  sky  is  lost  amid  the  furiousness  of 
the  waves,  and  all  join  in  a  harmony  of  force 
that  seems  hopeless  to  life  or  to  anything  that 
should  come  under  its  influence.  To  the  writer 
this  is  one  of  the  most  fascinating  revelations 
of  the  wild  power  of  a  storm  ever  painted.  It 
speaks  plainly  of  the  genius  of  the  artist.  As 
long  as  the  fabric  of  this  canvas  shall  hold  to- 
gether, or  a  ray  of  its  wondrous  light  shall  meet 
the  eye,  the  genius  of  Eugene  Isabey  will  need 
no  monument,  no  memorial. 


IV 


'LEXANDRE  GABRI- 
>EL  DECAMPS*^^: 
'No  painter  of  modern 
|times  had  a  stranger 
^nature  than  Decamps. 
[There  was  something 
/so  uncontrollable  in  his 
[strongly  artistic  temper- 
.ament.  He  "was  like  a 
(song  bird  that  flies  here 
and  there  as  its  feelings  prompt,  in  perfect  free- 
dom, and  while  his  nature  may  have  lacked 
in  those  qualities  of  persistence  that  would 
have  enabled  him  to  undergo  hard  and  perse- 
vering study,  who  knows  but  that,  after  all, 
the  world  has  gained  by  it?  He  came  upon 
the  stage  of  life  when  art  had  been  plodding 
through  long  and  weary  years  of  hard,  aca- 
demic control,  a  period  during  which  feeling, 
especially  that  sensitive  feeling  which  comes 
from  the  unfathomed  depths  of  nature,  was 
completely  smothered  by  the  dogmatic  as- 
sumption that  for  years  had  held  up  to  men 
the  mummies  of  the  dead  past,  instead  of  di- 
recting them  to  the  source  from  which  all  great 
art  has  received  its  inspiration.  In  saying  this 
I  do  not  mean  to  undervalue  the  art  of  the  past; 
far  from  it.  The  Greeks  drew  their  inspiration 
from  the  nature  about  them,  a  nature  that  was 
grand  in  its  physical  development.  And  those 
Dutchmen — why  did  they  paint  as  no  one  had 

75 


DECAMPS 


"French  art  of  the  first 

half  of  our  century 

has  inscribed  the  name 

of  Decamps  in  its 

peerage,  to  complete 

the  roll  of  the  elect 

of  born  painters — 

those  who  caused  the 

phalanx  of  1830  to  be 

owned  as  one  of  the 

finest  groups  of 

superior  artists  of  which 

any  epoch  can  boast." 

Albert  Wolff 


No.  116 
'THE  SUICIDE" 


done  before?  Because  they  were  close  to  na- 
ture and  were  drawn  to  her  by  sympathy.  Un- 
der these  conditions  Decamps  came  into  the 
world.  He  was  a  living  reproach  to  cold  form- 
alism, and  was  so  strong  in  his  assertion  as  an 
artist  that  he  lifted  art  up  to  an  elevation  where 
the  eye  could  sweep  over  vast  fields  of  beauty 
that  had  been  longing  for  recognition.  He  loved 
nature  and  would  spend  days  roaming  about 
with  his  gun  on  his  shoulder,  though  he  was 
never  known  to  harm  anything.  Instead,  he 
returned  from  his  communion  with  her  loaded 
with  the  pollen  from  her  flowers,which  he  dis- 
tilled into  the  delicious  things  that  are  treas- 
ured by  the  connoisseurs  of  all  climes.  A  hid- 
den mystery  always  infused  into  his  work 
gives  it  a  strong  personality.  The  only  picture 
by  him  in  this  collection,  "The  Suicide,"  is  in 
subject  of  the  most  morbid  type,  yet  there  is  a 
fascination  about  it  so  strange  and  unusual  that 
one  can  not  help  returning  and  searching  for  it. 
Lying  on  a  couch  in  a  dark,  dingy  studio  is 
seen  the  form  of  a  young  artist,  cold  in  death. 
He  has  taken  that  which  no  man  can  replace. 
On  the  floor  is  a  pistol.  The  room  is  shrouded 
in  a  gloom  whose  depths  are  filled  with  mys- 
terious stillness;  a  silence  so  intense  that  it 
would  almost  be  broken  by  the  pulsations  of 
one's  heart.  The  gloom  is  disturbed  by  a  single 
ray  of  light,  slanting  across  the  room.  It  strikes 
the  corner  of  a  chair  and  falls  on  the  shoulder 
of  the  man,  lighting  the  white  shirt  into  bold 
relief.  On  the  shirt  and  down  the  side  of  the 
bed  you  see  the  crimson  life  blood  that  has 
trickled  from  the  wound.  In  the  dimness  of 
the  background  is  an  easel  on  which  hangs  a 
palette;  brushes  and  tools  lie  on  the  mantel. 
These  are  the  simple  elements  of  the  picture. 
There  is  in  it,  however,  a  masterly  power  that 
76 


has  never  been  surpassed.  The  entire  figure 
is  painted  and  modeled  in  shadow,  a  thing  that 
very  few  have  succeeded  in  doing.  It  is  one 
thing  to  paint  a  figure  in  a  low  tone  and  call  it 
shadow,  but  to  make  that  same  figure  develop 
into  a  roundly  modeled  form,  and  still  keep  its 
value  as  a  part  of  the  shadow,  is  of  itself  a  tri- 
umph that  comes  from  the  divine  realms  of 
genius.  It  is  not  the  subject  of  the  picture  that 
fascinates  you,  nor  is  it  a  realism  in  which  the 
horrible  is  depicted.  'What  holds  you  is  the 
great  power  with  which  the  occult  and  mys- 
terious nature  of  Decamps  solved  the  prob- 
lems of  light,  dark  and  color. 

UGENE  FROMEN- 
TIN*^; Strong  and  pure, 
fone  of  the  most  refined 
and  beautiful  characters 
|Of  modern  French  art 
i  was  Eugene  Fromentin. 
,His  intellect  was  of  the 
i  finest  fiber,  and  of  such 
quality  as  to  make  him 
sensitive  to  the  soul  of 
things;  of  which  he  wrote  and  painted  with 
equal  power.  The  surface,  to  such  a  man,  can 
never  satisfy;  he  must  go  deeper.  Eugene 
Fromentin  was  not  only  a  poet  but  a  reformer, 
and  a  living  reproach  to  the  so-called  Oriental- 
ists who  affected  the  East  even  in  dress  and 
speech,  and  slapped  the  public  in  the  face  with 
their  vulgar  performances,  full  of  loud  coloring 
and  theatrical  effects,  the  issues  of  distorted 
imaginations.  Being  enamored  of  the  East,  the 
joy  of  his  life  was  to  paint  her,  which  he  did 
with  a  beauty  and  refinement  born  only  of  the 
poetic  mind.  His  pictures  have  those  distinc- 
tive, artistic  qualities  that  come  from  an  in- 
tense love  of  nature.  He  loved  the  wild,  rov- 

77 


DECAMPS 


"Small  and  delicately 
constituted;  his  face 
striking  in  its 
expression;  his  eyes 
magnificent;  his  con- 
versation like  his 
paintings  and  writ- 
ings— brilliant  and 
strong,  solid,  colored, 
full.     One  could  listen 
to  him  all  one's  life. 
Happy  those  who 
live  in  the  intimacy  of 
this  man,  exquisite 
in  every  respect." 

George  Sand 


FROMENTIN 


"Thanks  to  the  con- 
quest, Fromentin  is 
able  to  be  an  African 
without  ceasing  to 
be  a  Frenchman,  and 
if  he  distinctly 
affirms  his  taste  for 
the  life  of  the  desert, 
his  painted  and 
written  works 
manifest  the  most 
delicate  and  refined 
sentiment  of  a  Parisian 
of  pure  ancestry." 
Rene  Menard 

"He  paints  in  two 

languages,  and  is  an 

amateur  in  neither. 

The  two  are  in 

perfect  accord;  he 

passes  from  one  to  the 

other  with  facility." 

Saint-Beuve 


No.  57 
'THE  HALT" 


ing  Arab,  whose  life  was  as  free  as  the  air  he 
breathed.  No  man  has  painted  the  Arabian 
horses  with  greater  beauty  than  he.  It  was  the 
dream  of  his  life  to  paint  them  perfectly;  to  us, 
he  succeeded,  but  he  could  not  satisfy  himself. 
Into  his  pictures  he  introduced  the  beautiful 
silvery  atmosphere  that  characterizes  this 
country,  and  which  in  his  pictures  is  exhilarat- 
ing in  the  extreme.  His  drawing  is  universally 
strong,  his  coloring  fine.  In  his  pictures  you 
will  find  no  great  contrasts  of  light  and  dark; 
they  are  limited  to  a  few  tones  whose  relation- 
ship is  so  perfectly  rendered  that  it  gives  them 
a  strength  so  remarkable  that  they  will  stand 
beside  the  work  of  any  master.  In  the  paint- 
ing of  skies  he  had  no  superior;  they  are  always 
delicate  and  light,  so  ethereal  and  poetical.  He 
did  not  possess  the  wild  rugged  genius  of  Dela- 
croix or  the  strange  weirdness  of  Decamps,  but 
in  his  quiet,  modest  way  won  for  himself  a 
permanent  place  in  the  higher  circle  of  the  art 
world. 

'  'The  Halt"  is  in  this  respect  one  of  his  great- 
est triumphs.  Indeed,  it  is  in  every  respect  one 
of  his  best,  and  truly  represents  his  individu- 
ality and  best  manner.  On  a  hillside  are  some 
massive  white  buildings,  plain  yet  beautiful  in 
their  construction.  About  the  center  of  these 
buildings  is  a  tower  more  elevated  than  the 
other  parts,  thus  breaking  up  the  lines.  To- 
ward the  left  of  the  picture  you  get  a  glimpse 
of  a  distance  supreme  in  its  beauty,  stretching 
out  as  it  does  into  leagues  and  miles.  The  en- 
tire landscape  merges  into  a  sky  that  is  light 
and  of  a  tender  blue,  through  whose  ethereal 
beauty  vapory  clouds  joyously  course  their 
way,  clouds  so  thin  and  translucent  that  you 
can  see  the  sky  through  them.  There  is  such 
a  feeling  of  love  shown  in  the  painting  of  this 
78 


sky.  It  is  real  heat,  light,  air,  space.  In  a  court- 
yard are  several  groups  of  Arabs  and  their 
steeds.  These  groups  are  just  as  they  might 
have  happened.  The  figures  and  animals  show 
much  refined  beauty.  They  have  halted  to  re- 
fresh both  man  and  beast.  Each  group  is  fine, 
yet  only  a  part  of  the  -whole.  There  is  no  affec- 
tation, no  posing.  It  is  an  incident  of  the  Ori- 
ent, as  seen  and  felt  by  Fromentin,  whose  very 
nature  seemed  to  harmonize  with  the  Eastern 
subjects,  and  whose  artistic  temperament  en- 
abled him  to  reach  that  which  no  other  artist 
ever  had  attained. 

"When  you  see  this  picture,  congratulate 
yourself.  It  is  Fromentin;  you  have  seen  him 
at  his  best. 

While  not  as  great  a  representative  work  of 
the  artist  as  the  other,  the  "  Encampment  on 
the  Atlas  Mountains  "  is  yet  a  picture  of  won- 
derful beauty.  There  is  a  pale  greenish  blue 
tone  running  through  it  that  is  unsurpassed,  a 
tone  peculiar  to  Fromentin  and  said  to  be  true 
to  the  Orient.  Another  thing  about  the  picture 
is  the  relationship  of  the  life  to  the  landscape. 
There  is  a  wild  ruggedness  found  here  that  is 
not  a  part  of  "The  Halt."  In  the  distance, 
ledges  of  rugged  mountains  loom  up  against 
the  sky.  There  is  a  wildness  so  true  to  nature 
here  that  you  feel  the  real  grandeur  and  almost 
desolation  of  the  country.  The  mountains,  ris- 
ing one  after  another,  are  broken  by  valleys, 
crevasses,  and  flat  plains;  the  varied  tones  of 
the  mingling  of  rocks  and  verdure  form  into  a 
wonderful  effect  of  color.  The  mountains  are 
bathed  in  a  tender  atmosphere  that  floats  about 
them,  lending  a  beautiful  hazy  blue  to  their 
shadows.  In  the  foreground,  on  a  hillside,  are 
Arabs  encamped.  It  is  nature  with  her  real 
"out-of-doors"  effect,  of  which  Fromentin  was 

79 


FROMENTIN 


No.  81 

'AN  ENCAMPMENT 

ON  THE  ATLAS 

MOUNTAINS" 


"In  Fromentin  the 
draughtsman  caught 
the  most  admirable 
movements;  the  colorist 
saw  the  matter  with 
his  choice  sense  of 
hue;  and  the  poet,  for 
his  part,  added  some 
mysterious,  delicious 
reverie  to  the  composi- 
tions borne  off  from 
the  suggestions  of  act- 
uality.    See  «The 
Camp,'  for  instance; 
you  fancy  you  hear  the 
melancholy  songs  of 
the  Arab  mixed  with 
the  whinnyings  of 
the  horses  feed- 
ing unbridled." 

Wolff 


"He  is,  to  give  him 

his  right  name,  one  of 

the  enchanters." 

Wolff 


No.  38 
"AT  THE  WELL' 


FROMENTIN  a  true  interpreter.  The  eye  sweeps  over  the 
canvas  finding  only  sensations  of  delight;  re- 
pose is  everywhere.  At  first  you  are  only  in- 
terested; but  the  picture  grows  on  you,  and 
later  you  are  charmed,  as  you  feel  the  quiet 
persuasive  genius  of  Fromentin  stealing  over 
you. 

"The  Well"  is  a  canvas  that  has  much  of  the 
feeling  of  "The  Falconer,"  the  picture  that  has 
made  permanent  Fromentin's  place  in  art. 
Against  a  mass  of  cool,  velvety  foliage,  of  a 
transparent  green  of  great  richness,  are  some 
Arabs  with  horses,  who  have  halted  at  a  well. 
These  figures  are  broadly  and  feelingly  paint- 
ed. There  is  a  touch  of  strangeness  about  the 
picture  that  is  very  fascinating,  and  in  it  is 
found  all  the  refinement  of  Fromentin's  beau- 
tiful temperament.  It  is  a  small  canvas  with  a 
very  simple  color  scheme,  only  blue,white  and 
dark  green;  yet  it  is  as  big  as  all  out-doors  and 
is  worthy  of  careful  study  and  appreciation. 
The  painting  of  the  horses  in  this  picture  is  in 
Fromentin's  best  manner,  the  white  one  being 
especially  notable. 

HOMAS  COUTURE 
A  painter  and  colorist  of 
rare  attainment,  Couture 
was  drawn  to  graceful- 
ness and  beauty,  calling 
attention  to  the  beauties 
of  nature  and  making  a 
strong  appeal  to  the 
young  artist  for  a  higher 
ideal.  He  was  deeply  op- 
posed to  the  painting  of  extreme  realism,  and 
while  he  was  severe  and  sometimes  almost 
brutal  in  his  criticism,  was  always  an  active 
force  for  the  better  appreciation  of  those  ideal 
qualities  which  he  possessed  to  a  marked  de- 
80 


gree.  He  attained  eminence  at  an  early  age 
and  held  his  power  to  the  last.  His  selections 
of  types  were  always  fine.  They  were  painted 
with  great  breadth  and  beauty  of  color.  To 
him  all  nature  was  teeming  with  beautiful 
pictures,  only  waiting  for  the  deft  hand  that 
could  interpret  her  true  meaning.  He  loved 
the  flowers  as  they  grew,  saying,  "  Go  paint 
flowers  as  they  grow  in  the  field ;  do  not  pluck 
them,  for  they  wither  and  die."  Whatever  may 
have  been  his  faults,  Couture  was  a  colorist 
who  was  sensitive  to  the  varied  hues  of  all 
things;  as  a  painter  of  grace  no  modern  has 
surpassed  him,  and  at  times  he  reached  a  cli- 
max that  equaled  the  masters  of  any  epoch. 

There  are  two  of  his  works  in  this  collection 
which  possess  these  qualities  in  a  marked  de- 
gree. "Horace  and  Lydia,"  a  small  canvas,  has 
in  it  some  of  the  best  flesh  ever  painted.  On  a 
couch  is  seen  the  figure  of  Horace.  On  the  side 
towards  you  sits  Lydia,  whose  arms  entwine 
the  neck  of  Horace,  her  face  buried  in  his 
bosom.  The  upper  part  of  the  figure  of  Hor- 
ace is  nude,  the  lower  part  enveloped  in  blue 
drapery.  Lydia,  whose  back  is  turned  to  us, 
is  entirely  nude.  The  warm,  tender  flesh  color 
in  its  varied  tints,  the  beautiful  swelling  lines 
of  the  figure,  the  wonderful  breadth  of  draw- 
ing, the  solid  modeling  in  the  various  masses 
of  light,  are  painted  with  such  striking  force 
that  the  work  would  stand  alongside  that  of 
any  of  the  great  men  of  the  past.  Lydia's  fig- 
ure, whose  delicate  tints  contrast  with  the 
bronze  figure  of  Horace,  is  broadly  lighted  and 
both  are  accented  by  the  figure  of  a  servant 
who  stands  just  back  of  them  pouring  wine 
from  a  ewer.  It  is  one  of  the  best  Coutures  in 
this  country,  and  in  many  respects  this  pict- 
ure would  hold  its  own  anywhere. 

81 


COUTURE 


"In  a  day  when  all 
allegory,  all  lesson- 
teaching  in  art,  was 
discarded  by  the  heads 
of  the  profession,  de- 
clared to  be  priggish, 
and  left  to  the  prig, 
Couture  floated  upon 
the  scene  with  a  cloud 
of  most  graceful, 
most  original,  most 
pointed  fables,  as  novel 
in  manner,  for  our 
day,  as  the  keenness 
of  La  Fontaine 
was  for  his  day." 

Critique 

No.  5 

"HORACE  AND 
LYDIA" 


COUTURE 

No.  151 
"DAY  DREAMS" 


"Every  canvas  left  by 
Couture,  from  his 
'Decadence'  to  his 
'Pierrot'  pictures,  in- 
volves a  moral  and  an 
epigram,  always 
delivered  with  this 
refreshing  fineness  and 
surprise  of  manner. 
They  make  all  our 
other  allegory-paint- 
ers seem  lumbering." 
Critique 


As  an  expression  of  the  tenderness  and  grace 
of  boyhood,  "Day  Dreams"  is  a  beautiful  ex- 
ample. Here  is  the  refinement,  the  sentiment 
often  found  in  Couture's  art,  and  for  which  he 
so  earnestly  pleaded  in  his  •writings.  The  type 
of  this  boy's  face  is  one  of  extreme  delicacy, 
almost  feminine  in  character.  He  is  not  a  child 
that  'will  buffet  the  world  and  overcome  ob- 
stacles, but  instead  he  possesses  an  ideality 
of  soul  that  may  blossom  into  poetry  or  song. 
To  the  realist  this  picture  will  say  little  be- 
cause it  is  far  removed  from  his  way  of  see- 
ing, but  to  one  whose  nature  has  been  attuned 
to  the  more  ideal  aspect  of  life,  this  beautiful 
upturned  face  will  always  be  a  joy.  In  this  pict- 
ure Thomas  Couture's  better  nature  is  freely 
shown.  It  is  a  beautiful  symbol  of  the  child- 
hood whose  fancy  sees  wonder  visions  in  the 
rapidly  changing  hues  of  the  bubble,  as  it 
floats  world-like  above  his  head.  How  hard  it 
is  for  us  to  get  away  from  this  faculty  of  dream- 
ing, and  when  we  are  freed  from  it  how  much 
have  we  gained?  This  picture  is  as  fine  an  ex- 
ample of  the  beautiful  in  child  life  as  one  could 
desire.  The  color  is  beautiful  and  refined;  like- 
wise the  drawing.  Running  through  the  flesh 
are  those  wonderful  half  tones  that  are  a  char- 
acteristic of  Couture's  art. 

HARLES  GABRIEL 


Incidents. 
82 


Gleyre  was  an  indepen- 
dent genius  who  followed 
closelyhis  own  pure, 
chaste  and  beautiful  ide- 
als. His  works  are  varied 
in  subject,  ranging  from 
the  poetical  to  the  gravest 
of  religious  and  historic 
His  style  is  'graceful  and  full  of 


dreamy  sentiment;  gifted  with  the  inner  sight 
he  delved  into  the  dreamland  of  the  poets.  He 
was  a  patient  worker,  avoiding  the  excitement 
of  publicity  and  living  within  his  own  realm 
of  thought.  The  one  picture  by  Gleyre  to  be 
seen  here  is  acomposition  painted  from  avision 
he  saw  clairvoyantly  while  sitting  on  the  banks 
of  the  river  Nile.  It  made  such  a  lasting  im- 
pression upon  him  that  eight  years  afterwards 
he  transferred  it  to  canvas  just  as  it  appeared, 
save  that  he  introduced  an  ancient  bard  in  the 
place  of  himself.  He  called  it  "Lost  Illusions." 
At  the  right  side  of  the  picture,  sitting  in  an 
attitude  of  meditation,  is  the  old  poet,  his  right 
arm  resting  on  his  knees,  his  left  hanging  aim- 
lessly by  his  side.  Underneath  his  hand  and 
lying  on  the  ground  are  a  lyre  and  a  shepherd's 
crook.  He  is  intently  gazing  into  space,  with  a 
dreamy  expression  as  if  entranced,  and  his  fig- 
ure, dark  and  bronzed,  is  full  of  mystery. 
Gliding  by  on  the  calm  waters  is  an  Egyptian 
barge  of  graceful  proportions.  In  the  center  of 
it  sits  a  beautiful  girl  who  holds  a  scroll  of 
music.  Back  of  her  are  a  group  of  maidens  and 
in  front  of  her  are  three  others.  To  the  left 
stand  two  angels  singing  from  a  book,  their 
attitudes  graceful  and  suggestive.  To  the  right 
stands  a  third  group  inspired  with  the  spirit 
of  song,  while  sitting  on  the  edge  of  the  boat 
is  a  beautiful  nude  boy,  holding  a  wreath  in 
one  hand  and  scattering  roses  on  the  surface 
of  the  water  with  the  other.  Stretching  out  be- 
yond is  the  river.  Its  bosom  lies  calm  and  un- 
disturbed, bathed  in  a  soft  dreamy  atmosphere, 
while  high  up  in  the  air  some  water  fowls  are 
flying.  The  single  sail  at  the  prow  of  the  barge 
swells  in  the  balmy  breeze.  The  hush  of  even- 
ing seems  to  hover  over  everything,  broken 
only  by  the  Eolian  harmonies. 

83 


GLEYRE 


No.  8 
'LOST  ILLUSIONS' 


"Gleyre  loved  original 
things  that  one  had 
seriously  thought  out. 
*  He  had  the  power 
of  giving  clear 
and  comprehensible 
form  to  poetic  conceits 
and  fugitive  fancies. 
He  was  a 
painter  of  dreams." 

Stranahaii 


From  a  letter  written 
by  Thomas  Couture 
upon  hearing  of 
Fortuny's  death: 
"Oh,  the  beautiful 
things!  I  dream  of  them 
all  night!  They  are 
the  life,  the  light,  the 
budding  of  spring, 
the  colors  with  which 
God  has  painted  his 
flowers.     It  is  not 
painting,  it  is  not  work, 
it  is  not  human! 
Butterflies  have 
brushed  his  canvas 
with  their  wings,  leav- 
ing their  gorgeousness 
thereon,  and  the 
fairies  have  pressed 
their  most  beautiful 
flowers  to  color  it. 
All  sparkles  with  sun- 
shine and  genius! 
All  is  transformed  by 
a  magic  prism.     The 
vulgar  becomes  poetic — 
the  satire,  amiable." 


ARIANO  FORTUNY 
Meteor-like,  Mariano 
Fortuny  appeared  on  the 
horizon  of  the  art  world. 
He  came  -with  a  new 
thought,  an  idea  that 
gave  an  impetusto  the  de- 
velopment of  the  art  of 
painting  and  completely 
upset  the  dogmas  andtra- 
ditions  of  the  schools.  Intellectually  strong, 
brilliant  and  audacious,  he  was  the  apostle  of 
dazzling  sunlight  and  forever  settled  the  ques- 
tion of  the  possibilities  of  painting  real,  vibrat- 
ing light.  While  he  was  modest  and  reserved 
as  to  his  own  powers,  Fortuny  evidently  felt 
he  had  a  mission,  a  work  to  do,  and  he  realized 
above  all  things  his  own  possibilities  of  attain- 
ment. With  a  zeal  and  intense  devotion  to  his 
art,  he  found  his  greatest  pleasure  in  the  de- 
veloping and  unfolding  of  these  powers,  and 
his  hours  of  recreation  found  him  working  still. 
He  was  a  sensitive  upon  whose  nature  every- 
thing made  an  impress.  A  lover  of  the  beauti- 
ful, his  talents  were  as  varied  as  the  emotions 
that  he  experienced.  Although  he  passed  away 
at  an  early  age,  his  accomplishments  were 
marvelous.  As  a  painter,  in  all  that  goes  to 
make  up  that  term,  he  was  unsurpassed.  In 
luxury  of  color  and  light  is  his  greatness. 
He  was  the  Chopin  of  painting,  and  like  that 
84 


wizard  of  the  piano,  his  genius  "was  full  of 
strange  harmonies  and  fantasies,  and  his  bril- 
liancy will  continue  to  baffle  the  attempts  of 
lesser  lights  in  the  years  to  come.  His  gifts 
were  varied  and  in  his  painting  he  is  two  dis- 
tinct characters.  In  one  his  skillful  finish  is 
remarkable.  In  the  other  the  weird  occultism 
of  the  Orient  is  brought  before  you  with  a 
power  never  surpassed.  What  Fortuny  might 
have  accomplished  can  only  be  surmised  from 
the  wonderful  success  of  his  earth  life.  Just  as 
he  was  coming  into  the  fullness  of  his  powers 
his  brilliant  spirit  took  its  flight.  At  the  age 
of  thirty-three  he  laid  aside  his  brush. 

"The  Rare  Vase"  is  a  little  picture  of  mar- 
velous beauty.  On  a  tall  stand  of  elaborate 
design  rests  a  large  vase  of  beautiful  propor- 
tions, on  the  surface  of  which  decorative  de- 
signs are  portrayed  in  rich  colors,  a  revel  of 
red,  blue,  green  and  gold.  Standing  in  the 
center  of  the  room  is  a  connoisseur  whose 
every  action  expresses  admiration  for  the 
beauty  and  expression  of  the  vase.  He  stands 
with  his  feet  firmly  planted  on  the  floor,  his 
head  thrown  back,  and  his  eyes  fairly  danc- 
ing with  delight.  His  right  hand  rests  on  his 
hip  while  in  his  left  he  holds  a  slender  walk- 
ing-stick, the  end  of  which  he  unconsciously 
puts  to  his  mouth.  In  this  little  figure  there 
is  some  of  the  best  drawing  ever  done.  Look 
at  the  way  in  which  the  knees  are  hinged  and 
the  manner  in  which  the  hips  and  body  rest 
on  the  legs;  in  fact  the  solidity,  firmness  and 
action  of  the  entire  figure.  The  costume  fit- 
ting the  man  snugly  reveals  perfectly  the  form 
in  all  its  beauty.  In  color,  this  little  picture 
is  a  harmony  of  beautiful  tones.  His  vest  and 
trunks  are  of  pale  blue  satin,  his  coat  of  a  rich 
green  stuff  lined  with  pink.  These  colors  are 

85 


FORTUNY 


No.  148 
"THE  RARE  VASE" 

Zamacois,  on  leaving 
Fortuny' s  studio, 
where  he  had  tried  to 
paint,  exclaimed, 
on  reaching  the  garden, 
"I  can  now  breathe 
freely,  but  I  can  not 
do  so  where  Mariano 
paints!  He  absorbs 
all  the  light,  color  and 
air;  in  fact,  he  is 
enough  to  disgust 
one  with  one's  own 
work,  for  he  is  the  only 
one  who  can  paint." 

"Fortuny  takes  my 
breath  away.     He  is 
master  of  us  all.  *  *  * 
Oh,  Fortuny!  I  can't 
sleep  for  you." 

Henri  Regnault 


FORTUNY 


No.  79 
'AN  ECCLESIASTIC' 


No.  46 

'HINDOO   SNAKE 
CHARMER" 


relieved  against  a  background  of  delicate 
color  and  design.  Just  back  of  the  figure  is  a 
panel  of  a  dark  green,  bluish  tone  against 
which  the  green,  blue  and  pink  of  the  cos- 
tume come  most  beautifully.  This  little  pic- 
ture, with  its  wonderful  character,  as  ex- 
pressed in  the  face  and  figure,  its  drawing  and 
painting  of  textures,  its  elegance  and  refine- 
ment, is  one  of  the  first  things  of  the  kind  in 
existence,  and  in  his  more  elaborate  style,  it 
is  one  of  Fortuny's  best  productions. 

The  remarkable  little  picture,  "An  Ecclesi- 
astic," by  the  same  painter,  again  displays 
the  character  of  the  artist  whose  genius  knew 
no  bounds.  This  painting  is  a  canvas  scarcely 
six  inches  square,  but  on  it  is  painted  a  great 
big  character.  Here  you  have  a  type  of  face 
of  one  in  high  authority,  but  happy  withal;  a 
face  that  could  wreathe  in  smiles  with  your 
joy,  or  could  shed  tears  of  sympathy  with  a 
sorrow.  He  is  well  stocked  with  good  humor 
and  in  the  main  enjoys  life.  The  painting  of  the 
face — scarcely  half  an  inch  high — is  wonder- 
ful in  its  drawing,  modeling  and  firmness. 
His  form,  which  is  large,  is  enveloped  in  a 
scarlet  robe;  this  is  placed  against  a  back- 
ground of  pure  vermilion,  a  performance  in 
color  that  only  Fortuny  would  dare  attempt. 
This  canvas  is  so  strongly  painted  that  it  easily 
holds  its  own  with  the  large  and  powerful  can- 
vases by  which  it  is  surrounded. 

"The  Hindoo  Snake  Charmer"  is  filled  with 
the  strange  occultism  that  permeates  Hindoo 
life.  On  a  rug  of  rich  coloring,  in  which  green 
and  red  prevail,  a  Hindoo  lies  stretched  at 
full  length,  resting  on  his  elbows.  His  bare 
arms,  shoulders  and  legs  are  drawn  and 
modeled  in  the  most  perfect  manner.  In  fact, 
in  these  respects,  this  is  one  of  the  best  figures 
86 


of  modern  art.  The  muscles,  tendons,  bone 
structure,  the  flesh  with  its  wonderful  texture 
and  marvelous  coloring,  are  in  Fortuny's  best 
manner.  The  tones  of  the  flesh,  which  is  of 
a  grayish  brown  color,  are  so  perfect  in  their 
relations  to  each  other  that  you  have  real  life 
before  you.  He  holds  in  his  right  hand  a 
slender  reed  with  which  he  teases  a  large 
snake  directly  in  front  of  him.  The  snake 
seems  completely  under  control.  Beyond  this 
figure  sits  a  man  whose  whole  figure  is  wrap- 
ped in  mystery ;  his  form  is  enveloped  in  dark 
drapery,  and  over  his  head  is  a  bit  of  red  cloth 
which  completely  shadows  his  face.  This  fig- 
ure, on  account  of  the  uncertain  weird  way 
in  which  it  is  rendered,  is  a  great  factor  in  the 
sentiment  of  the  picture.  Just  in  front  of  these 
two  figures  stands  a  "marabou,"  the  sacred 
bird  of  India,  with  legs  astride  the  snake.  He 
is  the  picture  of  sleepy  indifference.  Near  the 
front  of  the  picture  is  a  copper  ewer  and  basin 
whose  polished  surfaces  are  in  contrast  with 
the  textures  of  other  objects.  In  the  myste- 
rious and  shadowy  distance  you  see  several 
figures  grouped  about  a  fire  whose  smoke  curls 
up  in  pale  bluish  tones  against  the  dark  back- 
ground, which  extends  far  back  until  lost  in 
the  gloomy  sky  that  hovers  ominously  over 
all.  It  is  a  grand  rendition  of  the  East.  Its 
wondrous  influences,  that  have  baffled  the 
painters  of  all  nations,  found  an  interpreter  in 
the  remarkable  nature  of  Fortuny.  Every 
touch  of  color  adds  a  note  to  the  mystery  of 
this  picture.  There  is  a  sober  greenish-gray 
tone  about  it  that  is  full  of  expression.  This, 
with  the  subdued,  yet  powerful,  color  scheme, 
the  masterly  skill  with  which  the  figures  are 
painted,  and  the  absolutely  true  relationship 
of  tones,  make  "The  Snake  Charmer"  one  of 

87 


FORTUNY 

"What  Chopin  is  to 
music,  it  appears  to  us 
that  Fortuny  is  to 
art,  and  both  of  them 
have  more  of  the 
gypsy  wildness  and 
strangeness  of  Spain 
in  their  works  than 
of  the  sweet,  classical 
composure  of  Italy, 
or  of  the  sharp,  grace- 
ful esprit  of  France." 
Critique  in  Art 
Journal,  1875 


FORTUNY 


NO.  120 
•SPAIN—  1812" 


strongest  pictures  in  the  collection.  It  is, 
perhaps,  as  fine  an  expression  of  Fortuny'sart 
as  is  in  this  country,  particularly  of  his  broad 
manner  of  painting.  Here  there  is  a  sacrifice 
of  detail  where  it  would  mean  nothing,  but  in 
the  parts  where  it  is  essential,  it  is  placed  with 
telling  force.  From  a  technical  standpoint, 
this  picture  is  full  of  valuable  lessons  to  the 
student  of  painting,  and  to  such  a  one  the  life 
of  Fortuny  will  be  a  stimulus  because,  of  his 
persistent  devotion  to  the  development  of  his 
talents,  an  exemplification  of  the  fact  that 
genius  is  labor. 

DUARD  ZAMACOIS 
A  remarkable  painter,  a 
splendid  draughtsman 
and  a  man  whose  art  was 
of  great  elegance  and  fin- 
ish was  the  Spanish  mas- 
'ter,  Eduard  Zamacois. 
He  was  a  pupil  of  Meis- 
sonier,  and  possessed  a 
genius  that  has  been  lik- 
ened to  that  of  Moliere.  Underneath  and  play- 
ing through  his  art  is  often  found  a  satire  that 
is  keen  and  cutting.  His  color,  which  was  rich 
and  brilliant,  was  as  sparkling  as  jewels.  Noted 
for  the  novelty  of  his  subjects,  chosen  mostly 
from  the  sixteenth  and  seventeenth  centuries, 
he  thoroughly  appreciated  the  picturesque  and 
was  a  master  of  the  grotesque.  Bold  and  posi- 
tive in  composition,  his  types  and  characters 
were  always  excellent. 

Mr.  Walters  on  visiting  the  studio  of  this 
artist  saw  a  remarkable  picture  which  he  de- 
sired to  possess.  Zamacois  would  not  part  with 
it,  declaring  it  his  best  effort,  and  refusing  to 
sell  it  as  long  as  he  lived.  He  added,  however, 
that  should  his  wife  ever  wish  to  dispose  of  it 
88 


\ 


after  his  death  Mr.  Walters  should  have  the 
refusal  of  it.  Four  years  after  the  death  of  Za- 
macois,  his  wife  wrote  Mr.  Walters  that  she 
was  willing  to  dispose  of  the  coveted  picture, 
and  it  is  now  one  of  the  many  remarkable  and 
distinctively  original  pictures  of  the  collection. 
It  is  called  "Spain,  1812,"  and  is  an  incident 
of  the  occupancy  of  Spain  by  the  French.  The 
scene  is  in  a  dingy  old  room  in  some  out-of- 
the-way  place  into  which  two  French  soldiers 
have  been  decoyed  and  murdered.  Near  the 
center  of  the  room  is  a  well  whose  curbing  ex- 
tends above  the  floor.  On  the  right  a  stalwart 
Spaniard  is  seen  carrying  the  body  of  one  of 
the  murdered  soldiers.  It  is  limp,  and  the  feet 
drag  on  the  ground  as  the  man  endeavors  to 
haul  it  across  the  room.  On  the  opposite  side 
of  the  well  stands  a  grizzly  old  man  with  one 
foot  braced  against  the  curbing.  He  tugs  at 
thearmsof  the  dead  soldier,endeavoringto  pull 
him  in  the  well,  where  the  body  of  his  compan- 
ion has  already  been  consigned.  Just  back  of 
them  is  another  villainous-looking  Spaniard 
who,  poinard  in  hand,  watches  through  an  al- 
cove to  see  that  no  one  approaches,  while  near 
him  stands  an  old  woman  coolly  looking  on, 
while  she  holds  the  helmets  and  trappings  of 
the  murdered  soldiers.  The  cold  unfeeling  ac- 
tion of  the  various  characters  is  painted  with 
great  power.  The  man  who  bears  the  weight 
of  the  body  is  a  masterly  piece  of  drawing. 
His  every  muscle  is  strained  to  the  utmost. 
The  veins  swell,  the  tendons  are  drawn,  the 
blood  rushes  to  his  face,  his  eyes  fairly  start 
from  their  sockets,  revealing  the  strain  under 
which  he  labors.  In  order  to  be  prepared  for 
an  attack  he  holds  the  implement  of  his  deadly 
work,  a  stiletto,  between  his  teeth.  The  action 
of  the  old  man,  too,  is  fine,  as  he  pulls  at  the 

89 


ZAMACOIS 


"His  keen,  expressive 
brush  is  brilliant 
without  false  glitter; 
a  mocker  without 
grimace,  it  traces 
characters  as  would 
the  pen  of  the  most 
skillful  chronicler.  The 
spirit  of  touch, 
sharpened  by  the 
spirit  of  observation, 
could  not  speak 
better,  or  better  repre- 
sent itself." 
Paul  de  Saint-Victor 


ZAMACOIS  arms  of  the  dead  enemy.  Around  his  head  is 
bound  a  handkerchief  which  indicates  a  slight 
wounding  during  the  fray.  The  old  woman  is 
totally  indifferent  to  the  horror  of  the  tragedy 
enacted.  The  coloring  of  the  picture  is  strong 
and  deep,  the  shadows  are  full  of  lurking 
mystery.  The  drawing,  the  realism  of  the  en- 
tire picture,  the  brilliancy  of  the  red  and  green 
uniform  of  the  dead  soldier,  the  types  and  char- 
acters of  the  faces,  are  all  rendered  with  power. 
It  was  a  belief  among  these  people  that  if  they 
cast  the  bodies  of  the  dead  into  the  wells  the 
water  would  poison  those  who  drank  it,  thus 
aiding  them  in  getting  rid  of  the  invaders.  It 
is  a  remarkable  picture,  different  from  any  thing 
in  the  collection. 

AIMUNDO  DE  MAD- 
RAZO  *tt£  Madrazo  was 
one  of  the  remarkable 
group  of  painters  of  Span- 
ish extraction  who  ab- 
sorbed and  added  to  their 
own  national  vivacity  the 
progressive  enthusiasm 
of  Paris.  What  honor  to 
their  native  country  these 

men  have  wrought!  Fortuny,  Zamacois,  Mad- 
razo and  Rico — how  resplendent  and  original 
their  genius.  Madrazo  imbibed  many  of  the 
characteristics  of  his  brother-in-law,  Fortuny. 
He  was  not  so  brilliant,  but  no  less  serious,  and 
in  some  respects  his  art  is  more  serious  than 
that  of  Fortuny.  Fortuny  was  brilliant  and 
audacious,  Madrazo  more  conscientious  and 
earnest.  He  was  a  painter  of  strong  technique, 
and  his  subjects  were  always  picturesque. 
Like  Fortuny,  he  was  remarkable  in  his  choice 
of  types.  His  women  are  graceful  in  form  and 
gesture,  and  of  refined  elegance;  at  the  same 
90 


"Madrazo,  since  the 
death  of  Fortuny, 
has  stood  at  the  head 
and  been  the  ac- 
knowledged leader  of 
modern  Spanish  art." 
Henry  Bacon 


time,  no  one  painted  beggars  with  greater  pa- 
thos. 

See,  for  instance,  his  "Coming  Out  of  the 
Church."  At  the  entrance  of  a  quaint  old  Span- 
ish church,  with  stuccoed  walls  and  wonder- 
ful green  doors,  around  which  the  usual  com- 
plement of  mendicants  are  seen,  several  ladies 
are  going  and  coming  up  and  down  the  steps. 
It  is  raining,  everything  is  wet  and  disagree- 
able, you  feel  the  roughness  of  the  weather, 
the  dampness  penetrates  you.  On  these  steps 
may  be  found  all  grades  of  humanity,  each 
seeking  the  balm  from  which  happiness  may 
flow.  In  the  center  of  a  remarkable  group  is 
an  elegantly  dressed  lady  leaving  the  church. 
Her  head  is  of  fine  Spanish  type  and  remark- 
ably beautiful.  In  one  hand  she  holds  a  prayer- 
book,  while  with  the  other  she  lifts  the  skirts 
of  her  dress  to  keep  it  from  dragging  on  the 
wet  steps.  Her  figure  is  charming  in  its  grace, 
and  betrays  a  life  of  ease  and  refinement.  A 
beggar  appeals  to  her  unnoticed.  She  is  wholly 
concerned  in  keeping  her  skirts  from  the  rain. 
Just  back  of  her,  and  leaning  against  the  door 
casing,  is  a  tired,  weary  soul  who  has  found 
no  balm  for  her  sorrows  and  is  about  to  leave 
the  sacred  portals.  The  great  world  with  its  ills 
confronts  her,  she  hesitates  before  again  going 
out  into  it;  despair  seems  to  dwell  near  her, 
and  from  her  garb  poverty  seems  to  be  her  por- 
tion. To  the  left  of  these  central  figures  is  a 
woman  whose  costume  of  blue  striped  silk 
shows  better  conditions.  He  sympathy  goes 
out  to  a  less  fortunate  person  near  her,  and  hap- 
piness beams  on  every  feature  of  her  face.  Near 
her  is  a  woman  going  into  the  church.  Her 
figure  is  enveloped  in  a  red  and  black  checked 
shawl;  the  manner  in  which  it  is  drawn  is  fine. 
There  is  an  old  lady  with  a  black  shawl  thrown 


MADRAZO 

No.  160 

"COMING  OUT  OF 
CHURCH" 

"His  portraits  of  ladies 
are  specimens  of 
refined  taste,  which 
seem  to  express  the 
happiness  of  life, 
serenity  of  mind;  gay 
with  a  fresh,  rich 
coloring,  shining  upon 
the  silken  ribbons  and 
satin  draperies, 
without  being 
strengthened  by  any 
parts  thrown  into 
shadow." 

Charles  Blanc 


MADRAZO 


over  her  head;  she  has  on  a  coarse  olive-colored 
dress,  and  carries  a  basket  on  her  arm.  Her 
face  wears  a  tired,  careworn  expression  that 
speaks  volumes.  On  the  right  of  the  doorway 
are  two  strong  figures.  One  is  an  old  woman 
who  is  holding  out  her  hand  for  alms.  Her 
thin,  scrawny  face,  with  pinched  features  and 
wide  open  mouth,  from  which  you  almost  ex- 
pect a  wail  of  despair,  is  a  fine  piece  of  charac- 
ter painting.  The  old  woman  next  her  also  is 
very  strong  in  type,  while  underneath  an  old 
patched  and  faded  umbrella  sits  another  old 
woman,  almost  lost  in  the  shadow.  The  paint- 
ing of  them  all  is  very  remarkable.  Near  this 
group  and  going  up  the  steps  a  dominie  is  seen. 
He  is  dressed  in  his  clerical  suit  of  black,  and 
wears  the  conventional  hat.  The  rain,  the  wet 
pavement,  the  slush  in  the  street,  the  various 
characters,  are  all  painted  with  great  skill. 
You  feel  wet;  you  almost  hear  the  dripping 
from  the  eaves.  It  is  a  masterly  piece  of  real- 
ism. 


ARTIN  RICO 
Quitting  the  Academy  at 
Madrid,  realizing  that  he 
could  not  obtain  there  the 
knowledge  he  desired  of 
landscape  painting,  Mar- 
tin Rico  journeyed  to 
the  Sierras  of  Granada, 
and  he  took  up  his  abode 
_  among  the  shepherds. 

Here  he  worked,  free  from  restrictions  or  tra- 
ditions; giving  himself  over  to  the  careful  study 
of  nature,  which,  for  a  while,  he  copied  with 
almost  materialistic  skill,  painting  as  long  as 
the  season  permitted,  after  which  his  labors 
ceased  until  the  return  of  the  spring.  A  gentle- 
man, upon  forming  the  acquaintance  of  the 
92 


artist,  asked  the  pleasure  of  a  visit  to  his  studio. 
The  artist,  smiling,  informed  him  that  he  had 
never  had  a  studio.  It  was  his  habit  to  paint 
all  his  pictures  out  of  doors.  The  style  of  Rico 
is  distinctly  original,  combining  realism  of 
color  with  dazzling,  scintillating  light.  He 
paints  with  great  power  the  effect  of  the  noon- 
day sun.  The  Venetian  pictures  of  Rico  are 
different  from  those  of  any  other  painter.  His 
"Venice"  in  this  collection  is  a  remarkable 
rendition  of  the  real  city  with  its  vari-colored 
walls.  Like  Fortuny,  he  has  exerted  much 
power  in  the  art  of  his  time.  He  undoubtedly 
wielded  an  influence  in  the  formation  of  For- 
tuny's  last  manner, which  has  the  same  patchy, 
stuccoed  touch. 

There  is  a  gray  tone  running  through  the 
"Venice"  that  is  full  of  intensity,  widely  differ- 
ing from  the  poetical  vision  of  the  same  theme 
by  Turner.  It  is  also  totally  unlike  Ziem,  and 
has  a  fascination  peculiarly  its  own.  Against 
this  leaden  sky,  with  its  peculiar  quality,  are 
painted  the  buildings,  quivering  in  sunlight, 
mingling  with  the  sails  of  various  crafts  which 
make  up  the  distance,  in  which  the  local  color 
of  each  object  is  faintly  seen.  The  horizon  has 
a  tint  of  salmon  in  it.  This,  with  pale  yellow 
lavender  and  pinkish  white,  heightened  by  the 
warm  dark  tones  of  the  roofs,  form  a  rich  mass 
of  color.  Domes  and  steeples  break  up  the 
lines  of  the  composition.  On  one  side  is  a  pict- 
uresque line  of  palaces  with  wonderful  porti- 
coes, balconies,  terraces  and  windows.  Here 
is  a  more  positive  scheme  of  color  in  which  the 
pale  green  of  the  blinds  are  effective.  On  the 
nearest  balconies  the  graceful  tendrils  of  roses 
grow,  and  here  and  there  are  gardens  of  flow- 
ers and  plants.  On  the  left  the  buildings  are 
seen  at  a  greater  distance,  in  shadow,  and 

93 


RICO 


"M.  Rico  is  another 
painter  of  the  Spanish 
group  of  Parisians. 
His  pictures  of  the 
squares  and  canals  of 
Venice  are  not 
handled  in  the  con- 
ventional manner  but 
more  after  the 
realistic  school." 

Henry  Bacon 


No.  7 
"VENICE" 


RICO 


"Rico's  interpretation 
of  nature  is  remark- 
able for  taking  some 
note  of  everything 
whilst  preserving  tonic 
values  of  rare  truth.  *  *" 
Hamerton 


No.  142 

"GATHERING 
ORANGES,  TOLEDO1 


warm  in  color.  Barges  of  dark  somber  color- 
ing, brightened  by  touches  of  red  and  green, 
with  sails  of  dull  olive  tone,  stand  near  the 
shore,  while  here  and  there  gondolas  glide 
through  the  water,  whose  agitated  surface  re- 
flects the  various  objects  in  tremulous  touches 
that  no  one  could  use  with  greater  effect  than 
Rico. 

One  of  the  dominant  notes  of  his  "Gather- 
ing Oranges,  Toledo,"  is  the  sky,  with  its  won- 
derful depth  of  blue,  through  which  filmy 
clouds  are  drifting.  In  the  distance  you  catch 
glimpses  of  the  city  whose  domes  and  turrets 
make  it  so  picturesque.  Here  and  there  dark 
fir  trees  lift  their  forms  in  contrast  with  the 
dazzling  creamy  white  and  pale  chocolate 
colors  of  the  buildings.  Nearer,  and  forming  a 
mass  of  russet  gray  and  sober  green,  is  a  grove 
where  peasants  are  picking  oranges,  and  a  bit 
of  meadow  studded  with  flowers.  An  old  well 
curb,  several  donkeys  packed  for  a  journey,  a 
man,  some  children  gathering  flowers,  some 
women  sitting  on  the  ground  resting — these 
complete  the  foreground.  The  painting  is  sim- 
ple, poetical  and  true,  full  of  the  translucent 
atmosphere  characteristic  of  a  semi-tropical 
clime.  It  is  a  distinct  and  original  picture,  dif- 
fering greatly  from  his  "Venice,"  but  possess- 
ing much  beauty  of  color. 

iQSEF  VILLEGAS  *^£ 
A  thorough  knowledge  of 
the  human  figure,  a  fine 
(talent  for  composition, 
great  skill  as  a  colorist, 
and  intense  realism — 
these  are  the  equipments 
of  Villegas  which  place 
him  in  the  front  rank  of 
5men  of  his  school.  His 


realism  is  characterized  by  a  breadth  often 
lacking  among  those  who  paint  close  detail. 
He  always  shows  a  thorough  appreciation  of 
the  most  essential  parts  of  the  composition, 
and  does  not  elaborate  with  the  purpose  of  dis- 
playing a  certain  kind  of  skill,  but  rather  from 
a  sense  of  fitness  of  the  best  means  through 
which  he  can  interpret  the  character  of  his  sub- 
ject. It  is  not  often  that  you  find  a  fine  draughts- 
man and  colorist  united  in  one  person;  either 
one  or  the  other  usually  predominates,  but  in 
Villegas  both  are  co-equal.  In  his  rendition 
of  types  and  character  he  also  shows  the  in- 
fluence of  Fortuny,  but  his  color  is  more  gor- 
geous than  that  of  the  genius  with  whom  he 
studied. 

The  pictures  by  this  artist,  which  are  to  be 
seen  here,  are  remarkably  fine.  The  most  im- 
portant, probably,  is  the  "Cairo  Slipper  Mer- 
chant." In  a  quaint  old  shop,  whose  decora- 
tions are  of  a  rich  Oriental  character,  a  slipper 
merchant  is  seen  bargaining  with  a  customer. 
Near  the  center  of  the  picture  is  a  divan  made 
of  metal  elaborately  decorated.  On  the  edge  of 
it  sits  a  sheik  dressed  in  a  picturesque  garb  of 
grayish  white,  with  ahead-dress  of  pale  lemon 
hue.  He  is  trying  on  some  slippers,  and  ex- 
amining them  critically.  His  face  is  remarka- 
ble in  type  and  expression.  Standing  in  front 
of  him  is  the  merchant,  a  wonderful  character. 
The  upper  half  of  his  figure  is  nude  and  is  thin 
and  scrawny,  displaying  the  muscles  and  ten- 
dons, which  are  painted  with  a  thorough 
knowledge  of  character  and  anatomy.  The 
lower  part  of  his  figure  is  draped  in  orange 
colored  cloth,  while  on  his  head  is  an  enormous 
turban  of  a  pale  creamy  white.  A  long,  gray 
beard  covers  his  chin.  He  is  bending  forward, 
holding  a  pair  of  slippers  which  are  elaborately 

95 


VILLEGAS 


No.  67 

"CAIRO— THE 
SLIPPER   MER- 
CHANT" 


VILLEGAS 

"Villegas  has  trial 
quick  intuitive  percep- 
tion of  form  and 
anatomy  which  enables 
the  leading  artists  of 
this  Spanish  school 
to  place  upon  the  can- 
vas life-sized  figures 
in  a  variety  of  easy, 
natural  attitudes — 
figures  which  convey 
the  impression  that 
they  have  the  use  of 
their  limbs  and 
can  move  about." 
Edward  Bowen  Prescott 


No.  53 

"POULTRY  MARKET 
— TANGIERS" 


decorated, and  intently  watching  his  customer. 
In  front,  and  between  these  two  figures,  is  that 
of  an  attendant.  He  is  in  a  stooping  position, 
and  is  engaged  in  fitting  a  slipper  on  the  foot 
of  the  sheik.  His  light,  blue-green  costume  and 
red  fez  make  a  strong  color  note  in  the  pict- 
ure. Back  against  the  wall  sits  a  Nubian, 
whose  face  shines  like  a  piece  of  bronze.  He 
is  earnestly  watching  the  bargaining,  while  he 
enjoys  smolcing  a  quaint  old  copper  pipe.  In  an 
alcove  is  an  old  Turkoman,  engaged  in  mak- 
ing slippers.  A  canopy  extends  out  over  the 
divan,  around  the  edges  of  which  rows  of  slip- 
pers are  hung.  They  are  of  rich  and  varied 
hues,  red  and  yellow  predominating.  The  wall 
underneath  the  canopy  is  also  entirely  covered 
with  them,  forming  a  mass  of  brilliant  color. 
The  picture  is  remarkably  fine  in  types,  char- 
acters and  coloring.  The  color  is  warm  to  al- 
most an  extreme  degree.  Although  orange  and 
red  are  the  key-notes,  the  blues  and  purple  dis- 
tributed through  the  picture  are  so  deftly  man- 
aged that  they  are  brought  into  perfect  har- 
mony with  the  warm  tone  colors.  The  execu- 
tion of  the  picture  is  strong,  vigorous  and 
realistic,  yet  broad  and  in  every  respect  true 
to  life.  It  is  luxuriant  in  its  effect,  and  proves 
that  the  artist  is  one  of  the  most  accomplished 
realists  of  the  present  epoch. 

The  "Poultry  Market,  Tangiers,"  displays 
the  same  interesting  qualities  as  the  "Slipper 
Merchant,"  but  is  much  quieter  in  color.  The 
dealer  here  sits  in  a  lazy,  half-leaning  position 
on  a  chicken  coop,  his  feet  and  legs  stretched 
out  directly  toward  you;  his  chest  and  arms 
nude,  displaying  rich,  warm  bronze-colored 
flesh.  The  rest  of  his  figure  is  enveloped  in  a 
coarse  whitish-gray  drapery.  Hangingdownin 
front  of  him  is  a  large  and  quaint  money  pouch 
96 


withadecorateddesigninbead-work.  Through 
windows  over  which  wires  are  stretched  you 
see  poultry  of  various  kinds.  Near  the  front 
is  a  coop  of  chickens,  on  top  of  which  a  large 
white  and  gray  rooster  stands.  Several  fowls 
are  lying  on  the  ground  before  the  coop.  The 
picture  is  painted  with  a  firm,  sure  touch.  The 
peculiar  staccato  touches  of  pure  color  in  the 
fowls  are  effective  in  the  extreme,  and  give 
great  emphasis  to  the  picture,  which  in  this 
respect  is  like  a  mosaic.  It  is  a  remarkable  ex- 
ample of  the  solid,  serious  painting  of  a  sub- 
ject whose  picturesqueness  is  perfectly  appre- 
ciated. This  canvas  is  a  fine  example  of  Ville- 
gas'  thorough  knowledge  of  drawing  and  of 
the  human  figure.  His  work  in  it,  while  care- 
ful, is  yet  broad  in  conception  and  full  of  char- 
acter. 

IMENEZ  Y  ARANDA 
This  brilliant  realist,  one 
of  the  leading  painters 
of  Spanish  life,  has  here 
a  remarkably  fine  ex- 
ample of  his  art,  free 
from  the  disagreeable, 
metallic  color  that  he 
has  affected  of  late  years. 
There  are  not  many  pict- 
ures that  possess  better  feeling  for  the  purely 
picturesque  than  the  "Boutique  of  Figaro"  em- 
bodies. This  is  especially  true  of  the  youth  in 
it  who  is  tuning  his  guitar. 

The  scene  is  in  a  court  adjacent  to  a  barber's 
shop;  directly  in  front  of  you  is  a  doorway  lead- 
ing into  it.  It  is  hung  with  blue  and  white 
striped  drapery.  Above  this  doorway  is  a  fine 
old  grille  of  queer  shell-like  form,  made  of 
wrought  iron,the  lines  running  across  it  in  cob- 
web design.  A  polished  brass  dish  hangs  over 

97 


VILLEGAS 

"I  have  never  exhib- 
ited my  pictures,  and 
have  had  no  other 
recompense  than  the 
consideration  and 
respect  of  my  fellow- 
artists,  and  of  this  I  am 
sufficiently  proud." 

Joseph  Villegas 


No.  1 8 

'BOUTIQUE  OF 
FIGARO" 


JIMENEZ 

"The  best  and  most 
characteristic  art  dis- 
played in  the  Spanish 
section  is  found 
among  the  painters 
of  small  pictures, 
wherein  realism  seems 
to  be  the  dominant 
thought.     Foremost 
among  these  is 
Jimenez,  whose  pictures, 
while  elaborately 
finished,  are  broad 
and  scintillating  with 
light.     As  a  colorist  he 
is  a  master  who  plays 
in  a  high  key  which 
is  eminently  fitted  to 
depicting  stuccoed  walls 
shimmering  in  sun- 
light, against  which 
figures  are  pictur- 
esquely arranged.  Like 
all  the  great  Spanish 
artists,  Jimenez  is 
a  master  of  drawing, 
character  and  expres- 
sion." 
R.  B.  G. 
(World'sFair  Notes) 


the  door  and  pale-green  shutters  are  fastened 
at  the  sides.  On  the  right  are  two  men  seated  at 
a  table  playing  checkers.  The  one  next  the 
door  is  a  fine  character,  dressed  in  picturesque 
Spanish  costume,  a  long  olive-green  coat  and 
white  ruffled  shirt  bosom,  in  whose  meshes  his 
chin  is  buried.  He  seems  to  be  in  a  quandary 
about  his  next  move.  His  antagonist,  who  is 
a  jolly-looking  monk,  his  face  beaming  with 
good  humor,  seems  to  enjoy  the  advantage  he 
has  gained.  His  sober  garb  and  queer  long- 
brimmed  hat  are  in  strong  contrast  to  the  at- 
tire of  the  third  man,  who  sits  with  his  back 
towards  us.  His  fashionable  toilet  is  composed 
of  a  pink  coat  and  yellow  breeches.  Just  step- 
ping up,  and  drawing  a  chair  to  the  table,  is 
the  shop-keeper,  in  neat  and  appropriate  dress. 
On  the  opposite  side  of  the  door  is  the  barber's 
apprentice,  who,  leaning  against  the  wall,  is 
tuning  a  guitar  gaily  decorated  with  ribbons. 
His  figure  is  an  exquisitely  picturesque  bit  of 
painting.  His  coat  is  of  an  elaborate  figured 
stuff,  brown,  blue  and  fawn  in  color.  He  wears 
dark  trunks  and  red  hose,  and  a  red  handker- 
chief is  thrown  over  his  head.  Just  above  him 
are  two  small  owls  sitting  on  a  perch.  To  the 
left  is  a  window,  with  sill  and  grating  of 
wrought  iron,  exquisite  in  design.  The  picture 
is  painted  in  a  high  key,  being  light  and  sunny, 
and  is  undoubtedly  one  of  the  best  of  this 
painter's  works. 


98 


VI 


EON  JOSEPH  FLOR- 
ENTIN  BONNAT  ^ 
Leon  Bonnat  is  not  only 
a  famousportraitpainter, 
but  has  also  proven  him- 
self a  great  painter  of  his- 
tory. It  is  of  late  years 
that  he  has  devoted  his 
time  largely  to  portrait- 
ure. Into  his  portraits  he 
puts  an  immense  amount  of  solid,  intelligent 
work.  To  him  the  character  of  the  individual 
sitter  is  his  chief  concern,  and  in  this  respect 
no  painter,  past  or  present,  has  surpassed  him. 
He  has  the  gift  of  securing  the  essential.  He 
discerns  the  personality  of  his  sitter,  and  has 
the  power  to  place  it  on  the  canvas  so  as  to 
be  known  and  read  of  men.  The  portraits  of 
Bonnat  will  be  of  value  in  ages  to  come ;  first, 
because  of  the  honesty  of  his  methods;  and 
second,  because  of  the  truth  with  which  he  de- 
lineates character.  They  are  the  history  of  in- 
dividuals written  in  the  prose  of  living  vital 
colors.  Bonnat  is  a  realist,  but  not  in  the  com- 
mon interpretation  of  the  term.  Photography 
has  no  place  in  his  art,  nor  has  elaboration  of 
details  with  the  view  of  displaying  vulgar  imi-. 
tation.  His  careful  work  is  his  means  of  devel- 
oping the  real  living  character  upon  the  can- 
vas. His  faithful  realism  is  not  confined  to  the 
face  alone,  but  is  used  in  the  painting  of  every 

99 


BONNAT  part  of  the  figure.  Every  characteristic  of  the 
man  is  caught  and  recorded  perfectly,  not  as  a 
mere  fact,  but  as  the  essential  result  of  his  in- 
dividuality. M.  Ren6  Menard,  the  eminent 
critic,  says  of  him,  "M.  Bonnat's  touch  is  al- 
ways precise  and  marks  distances  distinctly, 
•without  any  degree  of  vagueness  or  indecis- 
ion." Indeed,  it  is  this  solidity,  this  firmness 
and  absolute  power  of  vitalizing  his  portraits, 
that  distinguishes  them  from  the  works  of  any 
living  painter.  They  carry  with  them  a  person- 
ality that  rivets  your  attention  at  once.  They 
are  not  painted  for  the  success  of  the  moment, 
nor  does  the  artist  seek  for  those  effects  that 
are  evanescent  or  fleeting;  instead,  M.  Bonnat 
paints  for  the  generations  to  come.  And  these 
pictures,  like  all  great  portraits,  will  become 
the  history  of  men.  Written  with  clearness, 
they  will  speak  for  themselves. 

The  proprietor  of  this  collection  once  said 
to  the  writer:  "There  will  be  a  time  when  an 
obscure  man  will  be  made  noted  by  being 
painted  by  Bonnat."  You  feel  that  this  esti- 
mate is  true.  There  has  been  some  unjust  crit- 
icism of  his  methods  and  coloring,  but  these 
are  the  legitimate  result  of  his  peculiar  mental 
qualities  which  subordinate  all  to  the  one  cen- 
tral thought — character.  Bonnat's  art  will  live 
because  it  is  honest,  sincere  and  the  result  of 
careful,  intelligent  work. 

There  are  four  portraits  by  this  artist  in  the 
collection,  all  differing,  yet  equal  in  strength 
and  merit.  In  the  portrait  of  Mr.  W.  T.  Wal- 
ters, you  have  the  highest  type  of  realism,  a 
realism  that  places  the  individual  man  square- 
ly before  you ;  delineating,  not  only  the  char- 
acter, but  every  characteristic  of  the  man.  The 
hands,  clasped  and  hanging  in  front  of  him, 
are  the  hands  of  Mr.  Walters.  Should  they  be 
100 


No.  49 
•A  PORTRAIT 


No.  150 

"PORTRAIT  OF 
A.  L.  BARYE" 


framed  separately  they  would  be  recognized  BONNAT 
by  any  one  knowing  the  man.  And  yet  the 
hands,  in  their  realistic  treatment,  in  no  way 
interfere  with  the  effect  of  the  head.  The  blue 
eyes,  mild,  yet  firm  as  a  rock ;  keen  and  pene- 
trating, yet  full  of  the  tenderest  sympathy — 
you  are  in  the  presence  of  a  man  who  can  read 
your  soul,  a  personality  that  is  distinct  in  its 
originality,  broad,  generous  and  just,  whose 
charity  grants  every  one  the  right  to  his  opin- 
ions. All  this  can  be  read  on  this  canvas,  paint- 
ed in  an  honest,  straightforward  manner. 

Beside  this  great  portrait  of  Mr.  Walters  I 
would  place  that  of  the  immortal  Barye,  on  ac- 
count of  the  tender  relationship  that  existed 
between  the  two  men,  bound  together  by  the 
golden  ties  of  friendship.  What  a  portrait  is 
this  of  Barye !  With  what  sympathy  has  the 
artist  delineated  the  friend;  you  feel  that  you 
are  in  the  presence  of  a  man  whose  depths 
were  never  sounded,  of  one  whose  great  pow- 
ers were  never  exhausted.  You  feel  the  men- 
tality of  the  man  at  once,  a  slumbering,  emo- 
tional, generous  mentality  like  Angelo's  or 
Beethoven's;  the  tireless  perseverance  of  a  Na- 
poleon combined  with  a  tenderness  that  led 
him  to  take  up  and  give  the  world  a  better  ap- 
preciation of  the  animal  kingdom ;  a  man  who 
was  conscious  of  a  mission  and  lived  in  an  at- 
mosphere peculiarly  his  own.  When  you  look 
at  this  portrait  of  Barye,  you  become  conscious 
of  something  that  separates  him  from  you. 
Barye  was  alone.  The  color  in  which  the  pict- 
ure is  "tuned"  is  suggestive  of  the  beautiful 
medium  in  which  his  wonderful  works  are 
cast.  He  is  leaning  on  a  modeling  stand,  an 
implement  of  work  in  his  hand.  His  broad, 
massive  head  is  tipped  slightly  forward.  The 
mental  faculties  thus  push  themselves  upon 

101 


BONNAT 


"The  reputation  of 
Bonnat  is  built  like 
his  painting — solid  and 
enduring.    He  has 
been  criticised  for 
eliminating  the  poetry 
from  his  paintings, 
but  history  is  best  writ- 
ten in  prose.     He 
has  also  been  re- 
proached for  certain 
processes  of  modeling 
by  which  he  attains 
an  effect  of  relief 
capable  of  deceiving 
the  eye,  his  pitiless 
realism  and  certain 
mannerisms  in  the 
painting  of  his 
backgrounds,  but  where 
is  there  another 
painter  who  can  equal 
the  force  and  truth- 
fulness with  which  he 
delineates  the 
character  of  his 
sitters?" 

Critique  of  French 
Art  at  the  World's  Fair 

No.  80 

"PORTRAIT  OF  THE 
ARTIST" 


No.  149 

"PORTRAIT  OF 
GEORGE  A.  LUCAS' 


you,  the  clear  cut,  warm,  brown  eyes  look  from 
under  strong,  expressive  brows.  He  has  a 
mouth  that  expresses  sensitiveness  and  ex- 
quisite taste,  but  determination  is  also  marked 
in  every  line;  firmly  modeled  cheeks  and  a 
square,  massive  jaw  and  chin  stamp  the  man 
as  one  of  such  force  and  vigor  as  is  rarely  met. 
His  form  is  large  and  strong,  one  capable  of 
great  endurance.  Leon  Bonnat  has  in  this  por- 
trait "writ  life  of  Barye"  which  is  in  perfect 
harmony  with  the  work  of  his  immortal  hand 
which  surrounds  it. 

Let  us  now  look  at  Bonnat  as  painted  by  him- 
self. Here  is  the  head  of  a  man  in  the  prime  of 
life,  whose  face  shows  refinement  and  beauty 
of  character,  a  sensitive,  nervous  man  who  has 
a  keen  perception  for  the  essential  in  every- 
thing. The  features  are  strong,  yet  delicately 
chiseled;  the  brows  are  finely  developed,  re- 
vealing ahabit  of  deep  observation.  The  eyes, 
large,  clear  cut,  and  of  a  rich,  dark  brown,  re- 
gard you  with  a  penetrating  look  that  is  won- 
derful. They  haunt  you.  The  mouth,  firm  and 
sensitive, is  partly  concealed  by  a  heavy  brown 
mustache  and  the  face  is  covered  with  a  closely 
clipped  beard  that  shapes  to  a  point  on  the  chin. 
The  entire  head  is  finely  developed  and  distin- 
guished in  character,  and,  though  painted  in  a 
broad,  artistic  manner,  is  yet  realistic  in  its  ab- 
solute truth  of  tone.  Painted  and  presented  to 
Mr.  Walters  as  a  token  of  friendship  and  es- 
teem, a  friendship  which  was  born  of  mutual 
sympathy,  M.  Bonnat  has  at  the  same  time 
given  to  the  world  a  picture  that  will  live. 

The  portrait  of  Mr.  George  A.  Lucas  is  a 
good  piece  of  character  painting;  a  strong  and 
remarkably  fine  physique  and  a  well  propor- 
tioned head,  set  easily  on  the  body.  You  are  in 
the  presence  of  a  man  who  can  make  the  best 
102 


out  of  everything,  one  of  strong  mental  pow- 
ers, over  which  he  has  full  control,  possessing 
a  knowledge  gained  by  vast  experience  and  a 
habit  of  thorough  investigation;  calm,  cool  and 
considerate.  While  he  respects  custom,  he  is 
yet  thoroughly  independent.  He  is  master  of 
himself  and  his  mental  faculties  are  of  a  refined 
yet  positive  character.  The  ideal  is  well  de- 
veloped and  his  sense  of  beauty  is  acute.  He 
possesses  a  sensitive  organism.  He  is  a  phil- 
osopher and  a  student  of  human  nature;  is 
thoroughly  balanced  mentally  and  physically. 
The  forehead  is  high,  broad  and  well  devel- 
oped; brows  full  of  character,  coming  out  well 
over  the  fine  eyes,  throw  them  into  shadow. 
The  expression  of  the  eyes  is  both  mild  and 
searching.  The  nose  is  strong  in  character, 
nostrils  full  and  expressive.  The  mouth  al- 
though obscured  by  a  heavy  mustache  is  yet 
indicated  as  beingstrong  and  well  shaped.  He 
wears  along,  full  beard,  which  curves  over  his 
chin  in  such  a  manner  as  to  perfectly  indicate 
its  form.  The  hair  and  beard  are  of  a  bluish- 
gray  tone, the  flesh  is  strong  and  robust  in  color. 
In  fact,  this  picture,  while  not  as  realistic  as 
some  of  his  other  portraits,  possesses  qualities 
that  are  beautiful,  and  in  color  is  very  fine. 
There  is  something  in  it  that  reminds  one  of 
Titian's  portrait  of  Charles  V. 

In  looking  at  the  "Arab  Sheik"  one  can  see 
what  marvelous  things  this  artist  might  have 
done  had  he  been  drawn  to  the  Orient, with  his 
great  power  of  appreciation  of  character  added 
to  his  many  other  gifts,  among  which  feeling 
is  prominent.  In  this  picture  is  a  somber  strain, 
expressed  in  the  figure  and  the  atmosphere 
about  it,  that  is  in  touch  with  the  great  gifts 
that  were  supreme  in  Delacroix.  Added  to  it 
is  a  remarkable  character  delineation,  strong 

103 


BONNAT 


"His  portrait  of  Victor 
Hugo,  exhibited  in 
the  Dudley  Gallery  this 
summer  (1884),  gives 
an  admirable  idea 
of  his  powerful  life-like 
realization  of  a 
sitter,  his  superb 
modeling,  his  validity, 
his  contempt  for 
insincere  color  and  mere- 
tricious ornament." 

Critique 


No.  139 
"AN  ARAB  SHEIK' 


BONNAT  and  finely  developed,  all  painted  with  an  im- 
passioned swing  of  brush.  It  is  a  technique  that 
goes  straight  to  the  mark.  The  bronze  flesh  is 
enveloped  in  simple  red  drapery.  The  wild, 
restless  expression  of  the  eye  and  the  bony 
sinuous  character  of  the  entire  figure  are  ren- 
dered with  a  truth  that  is  fine.  The  drawing  is 
firm  and  positive,  with  textures  well  rendered. 

BAN  LEON  GEROME 
A  distinguished  charac- 
ter, intellectual  in  the  ex- 
treme, Gerome  is  one  of 
the  greatest  living  vital 
forces  in  the  art  of  our 
time.  Notwithstanding 
he  has  been  the  object  of 
narrow  criticism,  the  fact 
he  still  holds  the  en- 


viable position  he  honestly  achieved  proves 
the  permanency  of  his  attainments.  There  has 
always  been  a  distinct  personality,  a  certain 
brilliancy  of  composition,  a  positive  intellect- 
ual force  about  his  pictures  that  have  attracted 
many  young  men  to  him.  His  influence  can 
be  seen  in  the  art  of  many  nations,  and  will 
always  stand  as  a  protest  against  the  vagaries 
of  shallow  pretenders.  Gerome  is  original.  He 
has  the  gift  of  completing  a  picture  mentally 
before  touching  the  canvas,  yet  he  is  a  persist- 
ent, painstaking  painter,  who  is  never  satisfied 
until  the  end  sought  for  is  attained.  He  makes 
no  apologies;  neither  does  he  moralize.  He 
tries  to  paint  an  incident  just  as  it  occurred. 
Hi^  pictures  truly  represent  the  conditions  of 
the  times.  From  the  day  he  exhibited  the 
"Combat  of  Cocks"  to  the  present  time,  he  has 
produced  a  succession  of  pictures  all  distin- 
guished in  character,  and  his  studio  has  been 
the  Mecca  from  whence  many  have  gone  forth 
104 


thoroughly  equipped  with  a  knowledge,  a 
sureness  of  drawing,  that  has  enabled  them  to 
fill  an  honorable  place  in  art.  G6rome  has 
also  proven  himself  a  sculptor  of  remarkable 
strength,  having  produced  a  number  of  im- 
portant pieces.  He  possesses  a  broad  generous 
nature,  and  is  far  in  advance  of  those  who 
criticise  him.  Looking  over  the  field  of  art  in 
France,  the  question  arises,  in  answer  to  his 
would-be  traducers,  who  will  fill  his  place 
when  his  pencil  is  laid  aside?  There  are  four  of 
his  pictures  in  this  collection,  each  unlike  the 
other,  yet  all  possessing  his  personality  to 
a  high  degree.  Notwithstanding  the  carping 
critics  who  say  he  lacks  great  qualities,  these 
pictures  show  that  he  does  not  lack  in  color  and 
that  he  can  express  himself  with  a  power  and 
dramatic  force  of  the  first  rank. 

The  largest  canvas  is  "The  Christian  Mar- 
tyrs,"a  picture  that  was  on  his  easel  for  twenty 
years;  one  that  was  painted  from  start  to  finish 
three  times,  yet  always  preserving  the  original 
idea.  Still,  there  is  not  a  hint  about  it  that  would 
suggest  that  he  had  labored  so  long  to  attain 
that  which  he  so  earnestly  sought.  The  scene 
is  in  the  arena  of  the  Circus  Maximus,  a  struct- 
ure unparalleled  in  its  immensity,  capable  of 
seating  over  one  hundred  and  fifty  thousand 
people,  a  place  where  the  Caesars  found  amuse- 
ment in  casting  Christians  to  be  devoured  by 
wild  animals.  In  approaching  the  picture,  you 
are  amazed  at  the  immensity  that  has  been 
realized  in  it.  The  eye  sweeping  from  right  to 
left  is  met  by  a  mass  of  human  beings  that/fill 
the  vast  theater,  waiting  to  satisfy  their  gloat- 
ing appetites.  Just  back  of  the  foreground  are 
grouped  a  number  of  victims,  who  kneel,  form- 
ing a  circle  in  which  stands  an  old  man  offering 
up  a  prayer.  In  semi-circular  form  around  this 

105 


GEROME 


"His  art  is  like  his 
person,  like  his  intelli- 
gence; everything 
that  bears  his  signa- 
ture, be  it  bronze  or 
canvas,  sketch 
or  marble,  is  fine, 
vigorous  and  distin- 
guished, like  himself." 
Jules  Claretie 

"A  serious  talent,  and 
of  an  elevated  order; 
an  artist  who  looks  at 
his  art  nobly  and 
who  devotes  to  it  his 
existence." 

Alexander  Dumas 


No.  63 

"CHRISTIAN 
MARTYRS— THE 
LAST  PRAYER" 


GEROME 


"Not  a  painter  of  the 
present  age  can  com- 
pose a  picture  as 
well  as  he — the  great- 
est among  them  not 
excepted.  *  *  That 
which  gives  Gerome 
his  superiority  over 
most  of  his  rivals,  and 
establishes  his  very 
distinct  personality,  is 
his  incontestable 
erudition  as  a  man  and 
an  artist.    He  has 
innate  tact  and  taste; 
but  he  nourishes 
them  with  fruit  from 
the  tree  of  science." 
Ernil  Bergeret 


No.  43 
•DIOGENES" 


group  posts  are  set  on  which  victims  are  sus- 
pended. At  their  feet  branches  of  fagots  are 
tied ;  they  are  saturated  with  pitch  and  have 
just  been  ignited.  Dark,  ominous,  black  smoke 
arises,  enshrouding  some  of  the  crucified.  On 
the  left  of  the  foreground,  several  wild  beasts 
are  emerging  from  the  door  of  a  great  cellar.  A 
ponderous  lion  has  reached  the  top;  he  stops 
short — dazed  by  the  vast  throng  of  human  be- 
ings that  meets  his  eye.  Standing  firmly  on  his 
feet,  with  head  erect,  his  eye  sweeps  around 
the  vast  audience,  apparently  taking  no  notice 
of  his  victims,  while  the  Christians  in  their  re- 
ligious zeal  seem  indifferent  to  the  fate  await- 
ing them.  Nothing  could  be  finer  than  the  ac- 
tion of  the  monster  lion  as  he  stands  facing  the 
great  scene.  It  is  dramatic  in  the  extreme.  The 
mass  of  human  beings,  the  wonderful  sweep- 
ing lines  of  the  building,  the  vast  stretch  of  sky 
reaching  away  into  space, the  temple-crowned 
hills,  the  air  that  envelops  all,  make  a  mass  of 
drawing  and  color  supreme  in  art. 

A  picture  of  great  distinction  is  that  of  "Di- 
ogenes." On  the  corner  of  a  street  in  Athens, the 
cynic  is  sitting  in  a  tub,  busily  engaged  in  pre- 
paring his  lantern  to  search  for  the  honest  man. 
The  figure  is  fine  in  drawing,  and  full  of  all  the 
qualities  that  characterize  Gerome's  art.  The 
flesh  is  of  a  swarthy  bronze  hue;  the  head  and 
face  is  of  an  original  type,  and  not  after  the  well 
known  bust  of  Diogenes,  and  the  dark  brown 
hair  and  beard  are  unkempt.  The  type  of  face  is 
not  especially  striking,  yet  as  a  whole  the  en- 
tire figure  is  good.  A  bit  of  old  white  drapery, 
a  black  shawl  or  blanket,  a  stick  and  the  tub 
are  his  earthly  possessions.  Standing  around 
him  are  some  dogs,  his  friends  and  compan- 
ions. They  are  philosophers,  every  one  of 
them,  and  are  painted  with  a  skill  that  alone 
106 


would  stamp  GSrome's  genius  as  of  a  high 
order.  They  are  intently  watching  the  prep- 
aration of  the  lantern;  and  seem  to  realize  the 
gravity  of  the  occasion.  The  picture  brings  out 
wonderfully  the  character  of  Diogenes.  The 
color  is  somber  in  tone,  even  almost  cynical 
in  its  expression,  in  keeping  with  the  subject. 
The  effect  of  the  picture  is  that  the  man  has 
nothing  in  common  with  those  about  him. 

"  The  Duel  after  the  Ball "  is  the  nearest  ap- 
proach to  moralizing  of  all  his  pictures.  "While 
Gerome  never  sought  to  tell  a  story  you  inevi- 
tably draw  a  moral  from  it.  In  this  little  tragedy 
is  a  grim  sarcasm  that  is  delightful.  Through 
a  murky  fog  you  see  the  finale  of  a  little  differ- 
ence that  has  terminated  fatally  to  one  of  the 
parties  concerned.  In  a  half  fallen  position, 
with  his  head  and  shoulders  supported  by  his 
second,  is  the  victim,  his  legs  extending  out  in 
front  of  him,  rigid  and  stiff.  The  muscular  con- 
tortions of  his  face  show  too  well  the  approach 
of  death.  Standing  over  him  is  a  friend  whose 
grief  is  very  marked  at  the  unfortunate  ending 
of  the  affair.  The  victim,  whose  costume  is  that 
of  a  fool,  has  played  the  role  once  too  often. 
Behind  them  is  the  victor,  whose  companions 
are  trying  to  force  him  from  the  place  to  a  con- 
veyance dimly  seen  through  the  fog.  He  holds 
back,  as  if  repentant  of  his  crime.  His  costume 
is  that  of  an  Indian,  and  from  his  attitude  one 
would  judge  he  feels  keenly  that  he  has  played 
the  part  of  the  savage  only  too  well.  The  moral 
of  the  picture,  "the  savage  is  made  to  kill  the 
fool,"  is  told  with  great  dramatic  force.  The  fig- 
ure of  the  murdered  man  is  one  of  the  finest 
creations  of  modern  art.  It  was  painted  from 
a  corpse  and  has  every  expression  of  death. 

A  picture  quite  different  from  the  preceding, 
and  another  one  of  the  few  of  Gerome's  pict- 

107 


GEROME 


No.  109 
"THE  DUEL  AFTER 

THE 
MASQUERADE" 

"One  of  the  few  de- 
fenders to-day  of  high 
art,  he  has  exercised 
over  modern  paint- 
ing a  grand  influence. 
An  entire  school  has 
sprung  from  his 
exquisite  and  spiritual 
pictures;  an  entirely 
distinct  one  *  from  his 
greater  compositions." 
Masson 


No.  39 
'ON  THE  DESERT' 


GEROME 


"Just  as  Meissonier  is 
able  to  portray  an  en- 
tire epoch  in  one 
figure,  so  M.  Gerome 
is  expert  in  particular- 
izing a  certain  race  in 
a  single  person." 
Maxime  Decamp 


ures  wherein  dogs  play  a  prominent  part,  is 
called  "On  the  Desert."  It  is  a  modest  little  can- 
vas whose  quietness  is  the  cause  of  its  being 
passed  unnoticed  by  many  who  throng  the  gal- 
lery. On  a  desert  plain  an  Arab  is  seen,  accom- 
panied by  two  graceful  hounds,  whose  charac- 
ter and  beauty  of  form  are  painted  with  the 
wondrous  skill  that  Gerome  possessed  in  ahigh 
degree.  Of  this  gift  Hamerton  says,  "I  would 
rather  have  a  leash  of  greyhounds  painted  by 
Gerome  than  by  any  other  painter  living." 
This  picture  verifies  the  wisdom  of  Hamer- 
ton's  judgment.  It  is  a  little  gem,  and  shows 
the  artist  in  an  entirely  different  mood  from  the 
usual  subjects  chosen  by  him. 

ULES  ADOLPHE 
BRETON  <flg£  Breton 
I  was  one  of  thegrand  men 
of  this  century,  and  one 
whose  influence  has  ex- 
'  tended  into  every  clime. 
His  pictures,  full  of  ten- 
der affection  and  breath- 
ing the  spirit  and  soul  of 
nature,  appeal  to  the  sen- 
timents, and  truly  represent  the  happier  side 
of  peasant  life.  His  peasants  are  philosophers; 
they  are  flowers  of  the  field,  contented  and  hap- 
py in  their  own  way.  He  took  them  from  a  dif- 
ferent point  of  view  than  Millet,  who  seemed 
to  feel  only  their  sorrows.  Breton  painted  their 
moments  of  joy.  The  work  of  both  will  live. 
Each  possessed  his  merits.  Millet  himself  had 
to  struggle  with  all  the  bitterness  of  poverty 
that  could  fall  to  the  lot  of  the  humblest  peas- 
ant, and  the  world,  through  the  great  lessons 
of  humanity  taught  by  Millet,  rendered  to  Bre- 
ton the  recognition  which  his  great  powers  de- 
served. Breton  was  entitled  to  all  the  honors  he 
108 


received,  because  of  his  sincerity,  which  com- 
pelled him  to  turn  his  back  on  the  great  center 
of  the  art  world  and  seek  the  quiet  influences 
of  the  country  and  its  simple  life. 

"The  Close  of  Day"  is  a  beautiful  example 
of  the  poetry  of  peasant  life.  The  long,  weary 
day's  work  has  ended.  Two  young  women 
stand  leaning  on  their  hoes,  resting  ere  they 
journey  homeward.  These  figures,  as  they 
stand  firmly  planted  on  the  earth,  are  as  fine 
in  their  statuesque  beauty  and  physical  grand- 
eur as  anything  ever  painted.  They  are  a  won- 
derful contrast  to  some  of  the  vague,  brown, 
faded  canvases  that  bear  the  name  of  some 
second-rate  "old  master,"  long  since  gone  to 
his  reward.  Yet  those  old  musty  things  are 
worshiped,  while  the  Millets,  Bretons  and 
other  men,  who  are  in  touch  with  the  world 
about  us,  must  suffer.  There  is  something  so 
beautiful,  so  poetic  in  these  women  who  toil 
in  the  field,  as  they  stand  amid  the  fast  gather- 
ing shades  of  the  evening,  whose  gloaming  is 
filled  with  a  mystery  that  can  only  be  felt  and 
not  described.  Swiftly  the  gathering  shades 
of  night  press  on,  driving  the  day,  which  in 
turn  hurls  back  gleams  of  crimson  and  gold, 
transforming  the  blue-black  shades  of  night 
into  purpling  tones.  There  is  a  sense  of  large- 
ness, a  solidity  and  a  strength  expressed  that 
is  grand.  But  the  crowning  glory  of  this  little 
canvas  is  the  light  that  falls  on  the  two  figures. 
The  setting  sun  throws  a  gleam  of  golden  light 
across  the  plain,  faljing  gently  on  them,  bath- 
ing them  in  rich  light,  as  if  Mother  Nature 
would  crown  her  children  of  the  field  with  a 
glorious  benediction.  Let  us  hope  that  it  is  the 
symbol  of  a  bounteous  harvest  whose  golden 
fields  shall  be  dashed  with  poppies.  The  pict- 
ure appeals  directly  to  the  affections  and  brings 

109 


BR&TON 


No.  28 

"THE  CLOSE  OF 
THE  DAY" 

"In  one  respect  Breton 
is  the  most  notable 
of  all  the  painters  of 
poverty.    His 
pictures  report  most 
impressively  the 
democratic  feeling 
which  underlies  the 
sympathetic  school." 
Moncure  D.  Conway 

"M.  Jules  Breton's 
paintings  are  poems  of 
the  mysterious 
twilight  hours  when 
toil  in  the  harvest 
field  is  at  an  end,  and 
man  and  nature  rest." 
Garnet  Smith 


BRETON 

No.  136 

'RETURNING  FROM 
THE  FIELDS" 


"He  is  at  once  a 
painter  of  landscapes 
and  human  nature. 
The  two  are  harmo- 
nized in  all  his 
works  in  such  just  pro- 
portions, and  with 
such  equal  ability  and 
care  brought  to  the 
representation  of  each, 
that  he  occupies  the 
rare  position  of  ex- 
celling in  two  distinct 
branches  of  art;  in 
each  he  shows  a  deep, 
earnest,  reverential 
sympathy  in  the 
presence  of  nature; 
his  eye  for  color  is 
almost  faultless,  and 
his  technical  capacity  is 
beyond  question." 
S.  G.  W.  Benjaman 


with  it  an  influence  that  is  beautiful  and  full  of 
hope. 

The  other  Breton,  "The  Return  from  the 
Fields,"  is  one  of  the  most  beautiful  of  his 
works.  The  color  is  quiet,  cool  and  restful,  yet 
very  rich.  In  the  center  of  the  picture  and  com- 
ing toward  you  are  three  happy,  joyous,  heal- 
thy young  girls.  They  are  in  the  Junetime  of 
life.  Filled  with  its  romance,  their  thoughts 
turn  lightly  to  love.  They  are  linked  together 
by  the  tender  sympathies  of  nature,  and  are 
evidently  exchanging  those  little  secrets  that 
hover  near  the  heart.  The  beautiful  girl  on  the 
left,  in  whose  face  is  a  shade  of  sadness,  is  tell- 
ing something  of  grave  import  and  interest  to 
the  others,  who  give  their  undivided  attention, 
mingled  with  sympathy.  The  arms  of  the  girl 
in  the  center  are  thrown  around  her  compan- 
ions, linking  the  three  together  into  a  charm- 
ingly composed  and  painted  group.  This  per- 
fect group  shows  again  Breton's  wonderful 
mastery  of  the  human  figure,  a  power  that  is 
unsurpassed  by  any  painter  living.  The  color 
is  quiet,  refined  and  sober,  a  greenish-gray  tone 
running  through  the  entire  picture,  with  blue 
and  russet  brown  prevailing  in  the  drapery. 
Back  of  them,  and  reaching  up  to  their  should- 
ers, is  a  mass  of  tender,  beautiful  pale-green  fo- 
liage, into  which  myriads  of  white  poppies  are 
set,  typifying  the  beauty  and  purity  of  their 
sweet  young  lives  and  the  joyousness  of  their 
dreams.  On  either  side  is  a  mass  of  ripening 
grain  awaiting  the  reapers.  Above  all  hangs  a 
serene  sky  filled  with  hope,  a  harbinger  of  fairer 
days.  It  is  a  picture  of  youth  and  happiness. 
The  touch  of  shadow  on  the  young  girl's  face 
is  like  the  little  cloud  shadows  that  flit  across 
the  field,  only  to  be  followed  by  brighter  sun- 
beam, 
no 


EAN  LOUIS  ERNEST 
MEISSONIER  *^£  <^€ 
What  Tadema  is  to  Eng- 
land Meissonier  was  to 
France,  a  distinct  and 
original  character.  The 
immortality  he  made  for 
himself  was  the  result 
of  honest  industry  and 

_  thorough  method.    His 

rise  from  poverty  to  a  place  among  the  great- 
est artists  of  the  century  was  the  outcome  of  a 
persistent  effort  to  accomplish  the  end  he  had 
set  for  himself.  And  this  against  the  most  bit- 
ter opposition  of  narrow  bigotry;  for  while  his 
art  was  far  removed,  as  to  technique,  from  that 
of  Millet  and  his  contemporaries,  being  of  the 
most  finished  kind,  yet  the  same  elements  that 
contested  every  step  made  by  the  Barbizon 
men,  fought  Meissonier,  too,with  all  the  bitter- 
ness of  their  natures.  Those  who  credit  Meis- 
sonier with  only  skill  in  finish  make  a  grave 
mistake,  for  while  this  was  the  means  which 
he  chose  to  express  what  he  wished,  his  aims 
were  higher  and  nobler  than  those  of  many 
who  assailed  him.  No  painter  was  evermore 
conscientious  or  honest  in  his  work.  The  few 
who  deny  him  the  position  he  has  won  as  an 
artist  honor  him  for  his  honesty  of  purpose. 
The  great  thought  under  which  he  labored  was 
to  paint  with  that  sincerity  which  was  pre- 
eminent among  certain  of  the  old  Dutch  and 
Flemish  artists,  and  as  one  painter  can  give 
forth  but  one  of  the  many  modes  of  expression 
which  compose  what  we  call  Art,  the  return 
of  Meissonier  to  the  seriousness  of  the  men  of 
the  low  countries  marks  an  epoch.  The  little 
pictures  of  this  painter  are  the  result  of  the 
most  intense  study,  directed  by  intelligence. 

in 


MEISSONIER  In  the  early  part  of  his  career  he  was  called 
by  his  critics,  "the  painter  of  toy  images."  As 
he  approached  nearer  to  nature  he  w^as  styled 
"the  photographer,"  but  despite  all  obstacles 
Meissonier  has  wielded  an  influence  upon  the 
art  of  all  nations;  and  while  his  pictures  some- 
times commanded  enormous  prices,  it  never 
lessened  his  zeal  for  excellence.  He  destroyed 
many  canvases  that  would  have  brought  him 
large  sums  of  money,  because  they  did  not 
come  up  to  his  standard. 

M.Wolff  says  of  him,"To  establish  M.  Meis- 
sonier at  his  veritable  rank  in  our  estimation, 
we  must  make  a  calculation  after  many  an  in- 
vestigation of  all  the  states  through  which  the 
work  has  passed  before  arriving  at  publicity, 
of  all  the  studies  which  have  prepared  for  the 
actual  painting,  and  accompanied  it.  Nothing 
is  left  to  luck  in  his  painting;  every  effect  is 
based  on  profound  reflection,  on  watchfulness 
without  truce,  in  the  face  of  the  natural  model. 
This  is  why  M.  Meissonier  is  such  a  great  art- 
ist. To  those  who  take  exception  to  the  scale 
of  his  pictures,  and  regret,  in  the  name  of 
so-called  "grand  art,"  that  the  famous  painter 
has  kept  his  work  down  to  a  narrow  measure, 
I  may  be  permitted  to  say  that  in  art  this  is  a 
secondary  question,  and  that  the  picture  en- 
titled '1814'  in  its  little  frame  is  one  of  the 
most  powerful  dramas  in  our  century's  paint- 
ing, even  as  Meissonier  is  one  of  the  loftiest 
artists  of  our  time." 

NO.  154       No  unbiased  person  can  see  "1814"  and  deny 
»i8i4"    its  greatness.  In  fact,  this  is  to  me  the  triumph 
of  Meissonier's  art.  Seated  on  a  beautiful  white 
norse,  whose  every  line  is  noble,  is  the  Em- 
peror Napoleon.  His  short  and  compact  figure, 
large  head  and  massive  face,  with  its  firmly-set 
jaws, all  bear  an  aspect  of  smothered  gloom  and 
112 


dogged  determination.  It  is  doubtful  if  the  force 
of  character  painted  in  this  little  figure  was 
ever  equaled.  There  is  something  indescrib- 
able about  the  personality;  something  seems 
pent  up  within  the  man.  You  feel  that,  as  he 
sits  upon  his  noble  steed,  with  his  chin  dropped 
down  on  his  chest  and  his  powerful,  lion-like 
head  bent  low,  looking  far  away  across  the  val- 
ley he  sees  that  Fortune,  who  had  guided  him 
through  years  of  triumph,  has  at  last  turned  her 
face.  The  star  which  had  lit  his  pathway  has 
set,  and  his  hour  of  defeat  and  humiliation  has 
come.  He  has  halted  on  an  eminence.  Back  of 
him  lies  a  vast  landscape,  shrouded  in  gloom. 
The  overhanging  sky  laden  with  ominous 
clouds  adds  to  the  mysterious  and  uncertain 
expression  of  it  all,  and  reflects  the  gloomy 
foreboding  and  turbulent  emotions  that  weigh 
heavy  upon  his  soul.  His  head  is  covered  with 
a  huge  blackhat.  Awhite  vest  and  knee  breech- 
es, with  black  cavalry  boots  and  a  great-coat  of 
silvery-gray  compose  his  costume,  which  is 
painted  with  beautiful  simplicity  and  breadth 
of  light.  The  wind  blowing  the  coat  back,  re- 
veals across  his  breast  the  medals  of  honor  won 
by  the  many  triumphs  of  his  genius.  Behind 
him  you  see,  a  little  distance  down  the  hills, 
several  of  his  staff  officers;  but  you  feel  that  the 
man  of  destiny  is  alone.  The  sense  of  largeness 
is  painted  with  great  power,and  the  limitations 
of  the  little  canvas  are  forgotten  in  the  large- 
ness of  the  conception.  Meissonier  has  touch- 
ed here  a  high  dramatic  note. 

"The  Jovial  Trooper"  is  a  fine  example  of  the 
wonderful  finish  that  is  a  distinct  mark  of  his 
genius.  In  a  quaint  old  room,  sitting  in  a  chair, 
with  one  foot  resting  on  a  rung  while  the  other 
is  shoved  out  towards  you,  is  the  jovial  trooper. 
He  is  dressed  in  a  very  picturesque  costume 


MEISSONIER 


"Meissonier  simply 
wanted  to  see  and 
learn  the  truth, 
and  he  never,  even  to 
his  latest  day, 
substituted  himself 
for  nature,  as  artists 
do  when  they  have 
acquired  a  mannerism, 
or  as  men  of  very 
great  imaginative 
genius  are  apt  to  do." 
Hamerton 


No.  in 

"THE  JOVIAL 
TROOPER" 


/[EISSONIER 


"Examine  the  small- 
est, and  apparently  the 
least  important,  of 
his  studies;  you  will 
soon  be  completely  ab- 
sorbed by  the  little 
piece  of  painted  wood, 
as  the  painter  him- 
self has  been  absorbed 
by  it,  and  it  will 
gradually  grow  upon 
you  as  you  look  at 
it,  until  it  becomes  as 
big  as  nature  itself. 
The  reason  is  that  for 
some  hours  of  his 
existence  there  was 
nothing  for  him  on 
earth  but  the  model 
before  his  eyes,  and  his 
will  to  render  it  as  he 
saw  it." 
M.  Dumas 


of  white  doublet  and  trunks,  boots  of  brown 
leather,  and  a  broad-rimmed,  gray  hat  set  pict- 
uresquely on  the  back  of  his  head.  One  elbow 
rests  on  the  arm  of  his  chair,  as  he  holds  a  long, 
clay  pipe,while  his  other  arm  restson  the  table. 
Thrown  carelessly  back  is  his  cloak  of  brilliant 
red,  and  on  the  table  are  his  glass  and  flask.  His 
face  is  full  of  warm  rich  color,  and  his  ruddy 
hair,  his  jolly  expression  and  the  effect  of  the 
whole  figure  are  evidently  of  a  man  who  loves 
pleasure,  one  who  has  no  complaint  to  make  of 
life  and  its  treatment  of  him.  He  gets  the  best 
out  of  everything.  Histemperament  is  express- 
ed in  every  fiber  of  his  being.  There  is  enough 
good  humor  in  this  little  picture  to  put  a  whole 
company  into  congenial  spirits.  As  a  paint- 
ing, while  not  as  important  in  motive  as  the 
"1814,"  it  is  nevertheless  as  valuable,  because 
of  its  joyous  sentiment,  for  no  one  could  stand 
long  in  front  of  it  without  taking  on  the  jolly 
conditions  expressed.  It  makes  one  think  of 
the  unrestrained  hilarity  of  some  of  "Bobby 
Burns' "  joyous  rogues. 

I  A.  J.  DAGNAN-BOUV- 
'ERET  *^£  In  thepaint- 
ling  of  incidents  of  every- 
daylifeDagnan-Bouveret 
is  one  of  the  strongest  of 
living  artists.  He  gives  a 
realistic  interpretation  of 
,  nature,  and  being  a  keen 
jdiscerner  of  character,  a 
_  [master  of  the  human  fig- 
ure, and  a  thorough  colorist,  he  is  eminently 
qualified  for  delineating  life  as  it  is.  He  was  a 
pupil  of  Gerome  and  shows  in  his  thoroughness 
that  great  master's  teaching.  His  selections 
of  characteristic  types  are  always  good  and  he 
paints  them  with  great  vitality.  He  is  also  a 
114 


successful  painter  of  ideal  and  mythological 
subjects.  The  two  pictures  from  his  brush  in 
this  collection  are  splendid  examples,  one  of 
each  style.  "The  Musician"  isidealistic,while 
the  "Accident"  is  a  masterpiece  of  realism,  and 
remarkable  in  many  respects. 

The  scene  is  in  a  large  room  in  the  house  of 
a  French  peasant.  It  is  extremely  picturesque, 
with  its  mantels,  fireplace,  and  quaint  old  bed 
and  clock.  Seated  on  a  bench  is  a  boy,  pale  from 
the  loss  of  blood.  In  front  of  him,  and  with  his 
back  toward  you,  is  a  young  surgeon  who  is 
engaged  in  bandaging  the  boy's  hand,  which 
seems  to  have  been  badly  injured.  On  the  bench 
beside  the  boy  is  a  large  white  bowl  half  filled 
with  water  crimsoned  from  washing  the  in- 
jured hand.  At  his  side  stands  an  old  peasant 
whose  face  is  striking  and  full  of  character; 
he  is  intently  watching  the  operation,  his  face 
showing  feeling  and  sympathy  for  the  boy.  Be- 
side him  is  a  child  who  shrugs  closely  to  his 
side,  as  if  frightened.  On  the  right  of  the  boy 
stands  a  neat  old  lady,  whose  face  is  wonder- 
fully painted.  She  leans  slightly  over  him, 
resting  her  hands  on  a  table  that  extends  across 
the  room.  Her  expression  is  that  of  the  deepest 
concern  as  to  his  condition.  Her  face,  bronzed 
and  tawny  in  color,  is  fine,  but  purely  of  peas- 
ant stock.  A  youth  leans  on  the  table,  his  at- 
tention being  completely  absorbed  in  the  op- 
eration. The  doctor  is  a  splendid  character. 
His  dress,  of  the  latest  mode,  is  in  sharp  con- 
trast both  in  style  and  material  with  the  attire 
of  those  about  him.  The  drawing  and  paint- 
ing of  this  figure  is  remarkable,  and  his  cos- 
tume, which  is  of  the  conventional  style,  is  so 
painted  as  to  avoid  the  usual  stiffness.  He,  like 
the  rest  of  the  persons  in  the  room,  shows  a 
deep  sympathy  for  the  child.  His  face  is  re- 

"5 


DAGNAN- 
BOUVERET 


No.  107    - 
"AN  ACCIDENT" 

"What  appears  to 
constitute  the  peculiar 
character  of 
M.  Dagnan's  talent 
is  the  perfect  balance 
of  those  qualities 
whose  combination 
raises  an  artist  to  the 
first  rank." 

Ferdinand  Duval 


DAGNAN- 
BOUVERET 


No.  88 
'THE  MUSICIAN' 


fined  and  intellectual  and  his  thoroughly  pro- 
fessional air  gives  him  a  distinguished  appear- 
ance. The  heavy  table,  shining  from  long  use, 
reflects  color  in  its  polished  surface.  The  large 
fire-place,  black  with  soot,  forms  an  effective 
background  for  the  principal  group.  Some  fine 
still-life  touches  are  seen  in  the  textures  here 
and  there,  for  instance  in  pitchers  and  bottles 
on  the  table  and  in  the  room.  The  coloring  is 
rich  and  true  and  the  painful  incident  is  so 
vividly  brought  out  that  you  almost  shudder 
as  you  look  at  it. 

"The  Musician,"  a  youth  of  refinement  and 
character,  is  playing  on  a  violin.  His  figure, 
slender  and  graceful,  is  dressed  in  black  velvet. 
This  costume  heightens  the  effect  of  the  flesh, 
-which  is  rich  and  of  warm  coloring.  There  is 
dignity  in  his  attitude  and  bearing.  The  face 
shows  a  sensitive,  artistic  temperament,  and 
it  is  undoubtedly  a  careful  study  of  some  prom- 
ising young  virtuoso.  He  stands  as  if  playing 
before  an  audience,  with  his  violin  in  position. 
As  he  draws  the  bow  gracefully  across  the 
strings  you  almost  hear  the  rich  resonant  tones 
of  the  instrument  or  the  chant-like  touches 
which  thrill  the  soul.  The  color  is  strong,  rich, 
deep  and  harmonious,  giving  out  a  certain 
influence  that  is  suggestive  of  music. 

LPHONSE   DE  NEU- 
VILLE  ^K  The  life  of 
De  Neuville  was  quite 
lan  uneventful  one  until 
the  breaking  out  of  the 
I  Franco -Prussian  war, 
despite  the  fact  that  Del- 
acroix in  his  declining 
years  took  great  interest 
,in  him,  and  gave  him  ac- 
cess to  his  studio.   The  war  of  1870  and  1871 
116 


proved  to  be  an  inspiration  to  him;  like  many 
of  the  artists  of  France,  he  joined  the  serv- 
ice and  was  an  active  participant  in  the  great 
struggle  out  of  which  was  developed  a  school 
of  painters  of  military  life  never  equaled  in 
any  period  of  art.  The  simplicity  of  their  com- 
positions, the  wonderful  perfection  of  their 
drawing,  the  knowledge  gained  by  actual  ex- 
perience enabled  them  to  paint  the  real  inci- 
dent instead  of  artificial  posing,  as  was  the 
practice  of  all  the  battle  painters  that  ever 
lived  before  the  rising  of  this  group  in  France. 
Among  these  men  De  Neuville  is  in  many  re- 
spects a  peer.  His  drawing  is  always  good,  and 
void  of  a  certain  hardness  that  belongs  to  some 
of  his  contemporaries.  His  outlines  are  pict- 
uresque and  not  photographic;  his  coloring 
is  strong,  vigorous  and  harmonious.  He  is  a 
master  of  action;  in  this  respect  he  is  the  great- 
est among  them.  De  Hauranne  said  of  him, ' 
"He  has  freedom,  audacity,  movement,  truth 
of  physiognomy,  truth  of  gesture,  truth  of  color 
at  the  end  of  his  brush,  all  without  veritable 
effort — in  a  word,  he  has  genius  of  action." 
Three  splendid  examples  of  his  art  will  be 
found  in4he  gallery,  all  quite  different  in  char- 
acter. The  largest,  and,  perhaps, one  of  his  best 
works, is"TheAttackatDawn."  Theartistwas 
in  the  engagement,  and  at  the  close  of  the  war 
returned  and  made  the  studies  from  which  the 
picture  was  painted,  the  government  lending 
assistance  in  the  way  of  soldiers  and  accessor- 
ies; thus  giving  him  the  proper  conditions  from 
which  to  realize  his  picture. 

The  scene  is  in  a  Swiss  village.  The  French 
forces  have  been  driven  over  the  border.  The 
incident  is  the  moment  of  a  sudden  attack,  al- 
most resulting  in  a  panic.  Just  as  dawn  is  about 
to  break  through  the  darkness  of  night,  an  hour 

117 


"His  studio  was  a 
curious  scene.   Instead 
of  carpets  and 
precious  furniture 
and  objects  of  art, 
De  Neuville  surrounded 
himself  with  broken 
cannon  wheels, 
bloody  mattresses, 
muddy  straw,  battle- 
stained  uniforms, 
casques  all  battered 
with  bullets,  guns 
and  rifles  of  all  kinds, 
broken  swords  and 
other  accessories  of  real 
earnest  warfare." 

Critique 


No.  119 

"THE  ATTACK  AT 
DAWN" 


DE 
NEUVILLE 


«De  Neuville  was  the 
Alexandre  Dumas 
of  military  painting, 
se'eking  always  the 
movement  and  noise 
of  battle  and  accent- 
ing the  dramatic 
and  even  the  melo- 
dramatic side." 
Critique,  1885 


when  deathlike  stillness  reigns,  when  all  na- 
ture seems  hushed  in  repose,  and  when  slum- 
ber is  heaviest,  a  sudden  alarm  is  sounded.  The 
enemy  have  entered  the  village.  Everything  is 
bustle  and  excitement.  Back  into  the  shadows 
of  the  night,  beyond  the  pale,  flickering  light 
of  a  street-lamp,  you  see  indistinctly  the  shad- 
owy forms  of  the  Prussians.  Rushing  out  into 
the  street  are  the  French  troops,  some  but  half 
dressed  as  they  hastily  run  out  from  their  lodg- 
ings. A  few  have  reached  the  middle  of  the 
street  only  to  be  shot  down.  They  are  contest- 
ing every  inch  of  ground.  Everything  is  ac- 
tion. You  seem  to  hear  the  sharp  reports  of 
their  rifles,  and  the  bullets  sing  as  they  speed 
on  their  mission  of  death.  The  flash  from  the 
guns,  the  little  clouds  of  pinkish-white  smoke, 
join  in  the  deadly  drama.  One  man  falls;  an- 
other takes  his  place, only  to  give  way  to  others. 
This  is  but  the  beginning;  the  end  will  bring 
desolation.  The  wonderful  drawing  of  the  hu- 
man figure  in  action,  in  which  De  Neuville  is 
unsurpassed,  here  is  at  its  best;  for  instance, 
the  fine  drawing  of  the  Zouave  who  stands  in 
the  middle  of  the  street,  his  outline  sharply 
thrown  out  by  the  dull  bluish-gray  color  of  the 
snow.  There  is  a  realism  about  the  entire  pict- 
ure that  is  broad  and  large  in  its  conception. 
The  solemn  hush  of  the  night,  the  picturesque 
buildings,the  pale  light  fromthe  door  of  abuild- 
ing  from  which  some  soldiers  emerge,  the  cold 
slush  and  snow  are  painted  with  power  and 
truth.  The  rendition  of  the  hour  with  its  dusky, 
somber  gloom  is  impressive.  You  could  take 
away  the  figures  and  still  have  a  great  land- 
scape. The  solemn  toned  buildings  with  their 
quaint  double  roofs  covered  with  snow  and  the 
wonderful  atmosphere  that  envelopes  the  dis- 
tance are  beautiful  in  the  extreme.  The  snow 
118 


in  the  street  with  the  tracks  made  by  passing 
wagons,  the  action,  the  color,  the  marvelous  NEUVILLE 
drawing,  place  this  picture  as  one  of  the  best 
from  his  brush.  This  is  a  realism  that  comes 
from  absolute  truth  of  tone,  and  an  artistic  out- 
line. It  brings  you  into  the  conflict.  It  is  the 
real  incident.  No.  36 

"In  the  Trenches"  is  an  incident  of  the  pri-"iN  THE  TRENCHES" 
vation  that  befalls  the  life  of  the  common  sol- 
dier. It  is  a  struggle  against  the  ice-cold  hand 
of  winter,  and  is  but  one  chapter  in  the  tragedy 
of  war.  You  are  looking  across  a  desolate  plain 
whose  surface  is  shrouded  in  snow.  It  extends 
far  away  until  it  meets  a  cold  gray  sky  whose 
very  expression  makes  you  shudder.  In  the 
foreground  a  trench  has  been  dug.  Sitting  with 
their  backs  against  the  wall  are  a  number  of 
half-frozen  soldiers  huddled  closely  together. 
Blankets,  wraps,  handkerchiefs  and  every- 
thing available  have  been  used  to  keep  them 
warm.  The  air  is  cold  and  frosty;  though  you 
see  no  evidence  of  wind  blowing,  you  feel  the 
stinging,  biting  temperature.  Some  of  the  men, 
overcome  by  the  exposure,  have  fallen  asleep; 
others  sit  in  groups,  seemingly  wrapped  in 
deep  thought,  of  home  or  perhaps  of  the  com- 
ing morrow.  This  picture  is  another  example 
of  De  Neuville's  mastery  of  the  human  figure. 
There  is  no  posing,  but  the  real  living  facts  are 
painted  with  intensity  and  feeling.  The  color- 
ing is  strong  and  vigorous,  the  uniforms  and 
blankets  giving  it  variety.  Scattered  around 
on  the  ground  are  canteens  and  various  uten- 
sils incidental  to  camp-life.  Arms  are  stacked 
in  the  near  foreground;  close  to  the  feet  of  the 
semi-circle  of  soldiers  struggles  a  flickering, 
dismal  fire.  The  picture  is  very  dramatic,  with 
nothing  of  the  artificial  or  the  usual  makeshifts 
of  composition.  The  bleak,  cold  weather  and 

119 


DE 
NEUVILLE 


No.  16 
'INFORMATION' 


its  attendant  hardships,  the  dismal  gloom,  the 
approach  of  night  with  its  gathering  shadows, 
all  are  dealt  with  in  a  most  realistic  manner, 
making  it  a  picture  not  soon  to  be  forgotten. 
A  characteristic  example  of  De  Neuville's 
brilliant  and  careful  delineation  of  character 
is  his  "Information."  Seated  on  a  horse  is  an 
officer  in  full  uniform.  He  wears  a  red  fatigue 
cap  and  a  coat  of  dark  blue  on  which  are  elab- 
orate decorations  of  gold  and  red.  He  holds  a 
paper  in  his  hand  and  is  looking  off  in  the  di- 
rection in  which  a  peasant  points.  The  two 
are  having  an  earnest  conversation.  The  of- 
ficer is  getting  valuable  information,which  the 
peasant  gravely  proffers.  Back  of  them  is  the 
flock  of  sheep  tended  by  the  peasant,  while 
farther  down  the  road  are  seen  the  troopers 
accompanying  the  officer.  The  landscape  is 
rendered  with  a  real  out-of-door  effect.  The 
drawing  and  painting  are  faultless  and  empha- 
size the  artist's  skill,  and  the  picture  is  in  ev- 
ery way  worthy  of  the  painter  of  "The  Attack 
at  Dawn." 

IL  VAN  MARCKE 
No  modern  painter  has 
f  shown  greater  power  in 
the  delineation  of  the 
^picturesque  beauty  of  the 
>cow  than  Van Marcke.  A 
,studentunderTroyon,he 
(profited  by  the  influence 
of  this  great  master  and 
to  Troyon's  seriousness 
added  a  realism  of  his  own.  In  the  anatomy 
and  action  of  his  cows  he  is  perfect  and  no  man 
has  approached  him  in  his  wonderful  color.  In 
Troyon  you  see  the  tender,  loving  nature  of 
the  poet;  in  Van  Marcke  you  have  a  strong,  ro- 
bust character  that  comes  to  you  with  a  force 
120 


that  seizes  you  at  once.  The  former  steals  on  VAN 
you  with  a  quiet  repose  beautiful  beyond  com-  MARCKE 
parison,  but  Van  Marcke  paints  with  the  bold- 
ness of  a  man  who  knows  his  power  and  de- 
lights in  expressing  his  messages  with  a  real- 
ism, not  of  finical  details,  but  of  absolute  truth 
of  tone  in  its  varied  relationships.  His  color  is 
always  robust  and  powerful;  you  get  the  very 
depths  of  shadow,  full  of  rich  transparency, 
while  the  lights  are  painted  with  a  solid  im- 
pastothatcontrasts  wonderfully  with  theshad- 
ow  texture.  In  his  handling  Van  Marcke  is  su- 
premely a  painter;  strong,  bold,  rugged  brush 
work  characterizes  his  pictures.  With  it  he  de- 
velops the  muscular  form,  the  bone  structure 
and  the  textures,  all  at  the  same  time,  and,  like 
Troyon,  his  cattle  fit  the  landscape.  No  S6 

In  the  picture  "The  Approach  of  the  Storm,"  «THE  APPROACH  OF 
you  have  a  supreme  effort  of  his  art.  A  storm  THE  STORM" 
is  brewing,  and  masses  of  dark  purpling  gray 
clouds  are  gathering  their  forces,while  the  dis- 
tant plain  is  filled  with  ominous  shadows  full 
of  prophecy.  Coming  towards  you  are  sev- 
eral cows  stringing  along  over  the  plain  in  a 
haphazard  way  that  is  true  to  life.  A  herds- 
man is  seen  following  in  the  distance.  These 
various  groups  are  united  and  form  a  whole 
that  is  in  shadow,  with  the  exception  of  the 
group  of  cows  that  fills  the  front  of  the  pict- 
ure. This  group  is  in  a  soft  light  that  sifts 
through  balmy  clouds.  Having  reached  a  pool 
ofwatertheystop  to  drink. These  cows,creamy 
yellow,  black  and  red,  form  a  rich  mass  of  col- 
or. The  warm  sunlight  that  falls  on  them,  the 
wonderful  texture,  the  deep  transparent  shad- 
ows, all  finely  set  against  the  shadowy  back- 
ground, give  us  a  beautiful  piece  of  painting. 
The  possibilities  of  color  are  here  put  to  the 
test.  There  is  nothing  artificial  about  this  pict- 

121 


No.  50 
•THE  POOL' 


No.  40 
"EARLY  MORNING' 


ure;  it  is  a  splendid  realism  of  nature,  put  as 
the  artist  saw  it,  and  is  one  of  those  incidents 
in  her  phenomena  when  she  reaches  out  from 
the  commonplace  and  becomes  supreme.  The 
entire  canvas  glows  with  divine  color,  painted 
with  a  masterly  touch  and  a  knowledge  both 
of  nature  and  art.  It  is  a  canvas  that  will  al- 
ways impress  you  with  its  lesson  of  beauty. 

In  the  midst  of  deep  woods,  where  the  light 
sifts  through  the  trees,  and  the  broad,  deep 
shadows  lie  like  velvet,  is  seen  "The  Pool,"  a 
quiet  bit  of  water  in  which  several  cows  are 
standing.  The  light  falls  directly  on  a  cow 
and  calf;  one  white,  the  other  a  creamy  yel- 
low, they  give  a  wonderful  effect  of  light  and 
color  against  the  deep  shadows  of  the  back- 
ground. Beyond  this  group  several  cows  of 
various  colors  are  painted  in  the  depths  of  the 
shadows.  Back  of  the  pool  and  on  its  bank,  you 
see  a  little  cottage  embedded  in  the  rich,  deep- 
toned  foliage.  Above  this  the  eye  finds  an  out- 
let through  a  vista  whose  focus  point  is  a  little 
patch  of  sky.  The  trees  and  sky  are  reflected 
in  the  pool,  the  surface  of  which,  being  slight- 
ly ruffled,  breaks  the  reflections  into  beautiful 
patches  of  color.  Taken  as  a  piece  of  color  and 
drawing  this  is  a  masterpiece.  There  is  such 
truth  in  the  tones  of  the  shadows  and  so  much 
texture  and  solidity  in  the  lights  that  you  feel 
at  once  the  power  of  the  artist,  in  some  respects 
the  greatest  painter  of  cattle  that  ever  lived. 

"Early  Morning"  is  a  fine  expression  of  the 
soft  atmosphere  of  that  time  of  day.  Every- 
thing is  bathed  in  silvery  masses,  which  come 
up  flatly,  forming  values  of  great  beauty.  The 
entire  picture  is  wonderfully  truthful  to  the 
hour,  and  in  color  quite  unlike  Van  Marcke's 
usual  manner.  A  white  cow  stands  in  the 
foreground,  the  light  falling  on  her  back  in 
122 


broad  masses  of  light  and  shadow.  The  re- 
lationship of  light  and  shadow  are  always  of 
great  interest  in  Van  Marcke's  painting,  and 
in  this  little  picture  the  shadows  on  the  cow 
are  of  his  best  work.  There  is  the  joyousness  of 
morning.  The  beautiful  tones  of  the  different 
parts  of  the  picture  are  so  delightfully  painted 
that  you  long  for  the  stream  and  the  wildwood, 
with  its  weeds  and  flowers  decked  with  dew- 
drops,  the  jewels  of  morning.  A  cow  turns,  as 
if  speaking  to  a  woman  who  stands  at  a  gate, 
giving  a  touch  of  tenderness  to  the  picture. 
Only  art  like  this  can  bring  the  freshness  of 
morning  and  place  it  on  a  canvas  which  by  its 
silent  voice  takes  you  out  into  the  great  fields 
of  nature,  where  you  can  open  up  your  recep- 
tive faculties  and  once  again  roam  as  in  child- 
hood along  the  stream  or  amid  the  great  soli- 
tudes of  the  dim-lit  forest;  where  the  ear  is 
charmed  by  the  joyousness  of  Mother  Nature, 
who  would  more  than  compensate  us  for  the 
cares  and  struggles  of  life. 

Another  picture,  a  "Study  from  Nature,"  has 
many  of  the  more  subtle  qualities  that  were 
Troyon's.  The  sober,  quiet  tones  of  the  brown 
fields,  the  dull  green  trees  and  the  bronze 
cow  are  rendered  with  great  subjective  beau- 
ty. The  manner  in  which  a  bit  of  old  fence, 
against  which  some  wild  flowers  lean,  is  paint- 
ed, appeals  deeply  to  you,  leaving  a  sense  of 
rest  and  repose. 

The  fifth  and  last  picture  here  by  this  artist, 
a  white  cow  standing  in  a  meadow,  the  sun- 
light falling  on  her,  makes  a  wonderful  effect 
of  light  and  shade  dazzling  in  its  realism.  The 
solidity  with  which  it  is  painted,  the  manner 
in  which  the  shadows  are  rendered,  the  text- 
ures, all  make  it  one  of  the  most  masterly  bits 
of  painting  in  the  collection. 

123 


VAN 
MARCKE 


"During  the  summer 
he  painted  studies 
of  animals  from  nature, 
out  of  doors,  each 
of  them  costing  fifteen 
or  twenty  sittings, 
and  he  would  never 
part  with  one  of  them. 
His  pictures  were 
not  studies,  but  care- 
fully thought  out 
compositions,  however 
apparently  simple 
in  subject." 

Hamerton 


No.  25 

'STUDY  FROM 
NATURE" 


No.  45 

•COW— BRIGHT 
SUNLIGHT" 


DOLPH  SCHREYER 

Schreyer  has  won  an  en- 
viable  reputation  for 
himself  as  a  painter  and 
draughtsman.  Reposses- 
ses a  remarkable  genius 
for  the  delineation  of  ac- 
tion, and  in  this  respect 
ranks  high  among  living 
painters.  Indeed,  he  has 
been  compared  to  some  of  the  great  French 
artists  of  the  last  decade.  Theophile  Gautier, 
the  eminent  Parisian  critic,  says  of  him,  "He 
combines  the  characteristics  of  Delacroix,  De- 
camps and  Fromentin ;  at  the  same  time  re- 
maining original."  His  color  is  powerful  in  its 
depth  and  range.  He  is  always  artistic  and  his 
subjects  are  full  of  picturesqueness.  Whether 
painting  the  wild  Arab,  the  peasant  of  Poland, 
the  Cossack  of  Russia,  or  the  Hungarian  at 
work  in  the  field,  he  handles  all  with  equal 
power,  and  never  without  a  complete  appre- 
ciation of  their  picture  possibilities.  He  is  also 
a  thorough  master  of  the  horse.  Although  Ger- 
man by  birth,  and  a  man  who  has  won  distinc- 
tion in  all  art-loving  nations,  being  a  member 
of  most  of  the  academies  of  the  great  art  cen- 
ters, he  is  French  in  his  art.  His  pictures  are 
prized  as  distinguished  additions  to  any  col- 
lection, private  or  public,  and  always  bring 
large  prices  when  placed  upon  the  market. 
In  this  gallery  there  are  three  very  fine  ex- 
EMBouitDE—  amples  °f  Schreyer,  equal  in  merit  yet  distinct 
PLAINS  OF  *n  character.  Let  us  first  look  at  "The  Plains 
HUNGARY"  of  Hungary."  Tall  grasses,  pools  of  water,  and 
weeds,  make  up  the  surface  of  a  low  flat  plain 
that  is  quite  swampy,  almost  a  bog.  In  the  fore- 
ground stands  a  picturesque  cart,  loaded  with 
straw  or  peat,  to  which  three  horses  are  hitch- 
124 


ed.  Long  poles,  arranged  on  top  to  hold  on  the 
load,  add  to  its  beauty  of  form.  The  wheels 
have  sunk  deep  into  the  mud,  almost  to  the 
hubs,  and  the  horses,  jaded  and  tired  out,  have 
stopped.  The  driver  stands  on  the  top  of  the 
load,  looking  over  the  plain  as  if  searching  for 
relief,  and  there  is  an  air  of  hopelessness  de- 
picted in  every  part  of  the  picture.  The  draw- 
ing of  the  figure  of  the  man  expresses  this  com- 
pletely. Far  away  the  landscape  stretches  un- 
til the  horizon  line  is  reached.  The  plain  is  vast 
and  desolate,  with  no  life  to  be  seen,  and  the 
sky  dark  and  overcast  with  clouds.  The  earth 
is  wet  and  indicates  a  long  rainy  season.  The 
drawing  and  painting  of  the  horses  are  admir- 
able. The  coloring  of  the  whole  picture  is 
powerful.  The  entire  gamut  of  the  palette, 
from  a  creamy  white  to  a  purplish  black,  is 
used  in  it  with  great  skill.  The  general  tone 
of  the  picture  is  rather  low  and  somber,  but  the 
coloring  of  objects  in  the  foreground  is  warm 
and  rich,  and  the  entire  canvas  is  painted  with 
strength.  It  is  a  picture  not  only  possessing  a 
high  order  of  beauty,  but  of  much  value  as 
being  one  of  the  artist's  best  examples. 

A  canvas  quite  different  in  subject  and  paint- 
ing is  the  "Arabs  in  Egypt — Sunrise."  There 
is  something  in  this  picture  that  reminds  you 
of  the  effect  of  light  and  color  in  the  "Women 
of  Sahara,"  by  Fromentin.  Inside  a  court  at 
the  entrance  of  an  inn,  are  a  number  of  horses 
packed  and  equipped  for  a  journey.  They  are 
of  fine  breed  and  are  drawn  and  painted  with 
great  skill.  Two  or  three  Arabs  are  seen  near 
the  door  of  the  inn.  The  others  are  perhaps 
partaking  of  a  repast  before  starting  on  a  jour- 
ney. The  yard  is  in  shadow  of  a  warm  pur- 
plish gray  tone,  the  sky  only  being  slightly 
crimsoned  by  the  morning  light.  The  first  ray 

125 


SCHREYER 

"Schreyer  joins  to  a 
grand  and  bold  concep- 
tion a  profoundly 
poetic  sentiment;  this 
makes  him  both 
German  and  French. 
His  manner,  as  well 
as  his  talent,  has 
two  natures;  it  recalls 
both  Delacroix  and 
Fromentin.   His 
color  is  a  happy  ming- 
ling of  the  dreamy 
tones  of  the  one  and 
the  powerful 
colors  of  the  other." 
Courrier  Artistique 
1864 


No.  61 

'ARABS  IN  EGYPT- 
SUNRISE" 


SCHREYER  of  the  rising  sun  strikes  the  upper  part  of  the 
building  with  a  golden  glow.  The  chief  charm 
of  this  picture  is  the  truthful  morning  effect, 
and  in  its  beautiful,  harmonious  coloring.  It 
is  indeed  a  melody  pitched  in  a  low  key.  The 
horses  are  painted  perfectly  and  are  in  every 
way  worthy  of  this  Rubens  of  the  horse. 
NO.  2  It  is  doubtful  if  there  ever  was  a  finer  inter- 

»A  COLD  DAY-  pretation  of  the  bleaknessof  "A  Cold  Day  "than 
is  given  by  Schreyer  in  the  picture  of  that  name. 
"With  a  gift  which  enables  him  to  do  all  things 
well,  he  is  especially  successful  in  reproducing 
the  terrors  of  a  Hungarian  or  Russian  blizzard. 
Gautier  writes  to  the  artist  of  this  or  a  similar 
effect,  "I  have  been  in  such  a  storm.  Standing 
in  front  of  your  picturein  the  Salon  I  shudder." 
In  this  subject  the  artist's  power  of  expressing 
motion  has  a  fine  opportunity.  A  strong  wind 
is  blowing,  gathering  up  the  snow,  driving  it  in 
every  direction,  whirling  and  twisting,  filling 
the  air  so  full  that  it  changes  the  coloring  of  the 
sky,  which  is  dark  and  gloomy  toward  the  zen- 
ith. A  wagon  to  which  three  horses  are  hitched 
stands  beside  the  roadway.  Feeling  the  terri- 
ble effect  of  the  storm  they  have  turned  their 

"He  piays  pleasingly  heads  from  it,  holding  them  low  down,  almost 
amov,ngr,dieliSatff  to  the  ground,  while  they  hump  their  backs  as 

grays  which  lead  on  .  °  *  -i-»ir^i_ 

into  atmospheric  if  trying  to  protect  themselves.  Back  of  them 
distances,  and  his  stands  a  row  of  low  buildings  covered  with 

skies,  the  reverse  ot  __. ,         ,.  .„,.  °       ,      ,  . .» 

cast-iron,  move  with  snow.  The  driver  is  finding  good  cheer  with- 
•  ^ind  a*d*^th  in,  while  the  beasts  take  the  fury  of  the  storm. 

with  rain.  *  *  The          '  .  ,         .  ,  •',,  «         « 

horse  as  depicted  by  The  wind,  gathering  the  snow,  dashes  clouds 
him,  is  not  highly  0£  jt  over  the  house-tops,  twisting  and  driving 

trained,  fed  or.  .  •        ••••?  „  i   • 

groomed,  but  a  wild  it  high  up  into  the  sky.    In  fact,  everything 
creature,  flying  full  tencis  with  wonderful  effect  to  carry  out  the 

tear  across  .    .  __.,  ,  J        .          . 

wild  wastes,  with  a  terrible  conditions.   The  color  is  very  simple 
cart  or  carriage  rattling  and  jn  perfect  accord  with  the  character  of  the 

at  his  heels.  mi  «•  r*  •      j»    ..*  *A. 

j.  Beavington  scene.   The  velocity  of  the  w^ind,  the  severity 
Atkinson  of  the  storm  an(j  the  pitiable  condition  of  the 

126 


animals  are  powerfully  rendered.  The  draw- 
ing and  painting  of  the  horses  are  especially 
worthy  of  study. 

LEXANDRE  CABA- 
NEL  **£  Cabanel  is  a 
master  of  the  human  fig- 
ure. Besides  being  the 
recipient  of  numerous 
I  other  honors,  he  has  held 
a  professorship  in  the 
Beaux  Arts, has  received 
the  Grand  Prix,  and  is  a 
member  of  the  Legion  of 
Honor.  He  is  represented  by  two  pictures  in 
this  collection;  one  a  distinguished  portrait  of 
Louis  Napoleon,  the  other  a  character  portrait 
of  Mile.  Nilsson  as  "Pandora." 

The  picture  of  "Napoleon  III"  is  painted 
with  the  refinement  and  carefulness  of  draw- 
ing that  characterize  his  work.  There  is  a  fine 
air  of  dignity  in  the  pose  of  the  figure.  The 
character,  color  and  position  are  studied  with 
consummate  knowledge.  It  is  doubtless  a 
truthful  study  of  the  subject,  and  you  at  once 
feel  the  presence  of  a  man  of  power  and  official 
import.  The  color  is  warmer  and  more  ruddy 
than  is  usual  with  this  master. 

In  the  portrait  of  Mile. Nilsson  as"Pandora," 
the  flesh  is  warm  and  rich  and  the  textures  are 
as  fine  as  usual  with  Cabanel.  The  neck  and 
shoulders  are  bare.  There  is  a  delicate,  chaste 
rendering  of  their  beauty  that  is  charming.  The 
face  is  painted  with  all  the  tender  feeling  for  the 
female  face  that  made  his  portraits  so  popular. 
The  eyes  are  full  of  deep  expression,  looking 
out  from  under  brows  of  fine  character.  From 
the  shadows  that  linger  around  them  her  eyes 
regard  you  with  a  look  of  such  beauty  that, 
turning  away  from  the  picture,  you  still  feel 

127 


SCHREYER 


No.  161 
'NAPOLEON  III" 


No.  41 
"PANDORA" 


CABANEL 


"M.  Cabanel,  with 
harmony  of  tones  and 
softness  of  the  brush 
which  seduce  the 
men  of  the  world, 
knows  how  to  preserve 
all  the  serious  qual- 
ities of  the  artist.     He 
is  agreeable  and 
tender  in  his  painting, 
but  not  effeminate; 
under  his  flesh,  so  soft 
and  of  so  fine  a  grain, 
there  are  bones, 
muscles  and  nerves." 
Theophile  Gautier 


No.  27 

"VIRGIN  OF  THE 
DELIVERANCE" 


No.  70 

"GOING  TO  THE 
WELL" 


them  following  you.  In  her  left  hand  she  holds 
a  jeweled  box,  while  with  her  right  she  partly 
covers  the  box  with  a  part  of  the  pale  blu- 
ish green  drapery  that  envelops  her  figure. 
A  filmy  white  drapery  is  thrown  across  her 
breast.  The  arms  and  hands  are  painted  with 
a  thorough  appreciation  of  their  grace.  The 
background  is  a  dark  brown  tone  into  which 
the  outlines  melt,  giving  a  tender  effect  to  all. 

NTOINE  AUGUSTE 
ERNEST  HEBERT^C 
Hebert  was  director  of 
the  French  Academy  at 
Rome.  He  was  a  painter 
,of  great  refinement.  The 
'most  important  perhaps 
of  the  three  paintings  by 
im  in  the  gallery  is  the 
'Virgin  of  Deliverance," 
which  is  treated  in  his  purely  decorative  way. 
The  Virgin,  beautiful,  tall  and  graceful,  holds 
the  child  in  her  arms.  The  figures  are  drawn 
and  painted  exquisitely  and  are  simple  in 
color.  The  mother,  in  a  dress  of  dark  blue,  is 
against  a  background  of  gold.  The  halo  around 
her  head  is  done  in  gold  relief,  thus  combining 
painting  and  decoration.  The  lines  of  the  fig- 
ure are  beautiful  in  their  simplicity  and  purity, 
and  show  the  style  of  the  painter  in  whose  art 
there  lingered  faint  echoes  of  the  school  of 
David. 

"Going  to  the  Well"  is  light  and  dainty  in 
color  and  has  in  it  an  expression  not  unlike  the 
feeling  displayed  by  Fromentin.  Pale  blue, 
pearly  gray-green  and  warm  fleshy  tones  per- 
vade the  entire  canvas.  There  is  a  beautiful 
decorative  sense  displayed.  The  drawing  of 
the  figure  of  the  young  girl,  with  its  slightly 
elongated  effect,  aided  by  the  tall  water  jar  she 
128 


holds  on  her  head,  is  let  into  the  background  in 
a  delightful  manner. 

"The  Return  from  the  Well"  is  much  like  its 
companion.  The  color  is  more  somber  and  less 
decorative,  but  there  is  a  mystery,  a  brooding 
shadow  effect,  about  it  that  is  absent  from  the 
former.  There  is  something  suggestive  of  the 
morning  in  the  other,  while  this  has  the  pas- 
siveness  of  evening. 

UGHES  MERLE  tf^C 
i  The  pictures  of  Merle  are 
noted  for  their  graceful- 
!ness  and  beauty.  His 
( types  are  delicate  and 
sometimes  suggestive  of 
flowers,  yet  not  lacking  in 
character.  His  pictures 
are  always  popular  and 
!  attract  attention  at  the 
exhibitions.  The  subjects  he  takes  are  varied, 
ranging  from  the  ideal  to  pretentious  historical 
compositions,  the  former  being  very  popular 
for  reproductions.  His  coloring  is  pure  and 
chaste,  well  suited  to  the  subjects  he  chooses. 
With  it  there  is  an  intensity  to  his  art  that  is 
distinctly  his  own.  An  excellent  example  of 
his  work  is  to  be  seen  here  in  the  main  gallery. 
It  is  a  scene  from  "The  Scarlet  Letter."  This 
beautiful  picture  was  painted  by  Merle  at  the 
request  of  the  owner,  who  sent  him  the  novel. 
The  incident  chosen  is  where  the  heroine, 
Hester  Prynne,  has  been  conducted  from  the 
town  jail  to  the  pillory — which  stood  under  the 
eaves  of  one  of  Boston's  earliest  churches — 
where  she  was  doomed  to  exposure  for  a  cer- 
tain period.  She  is  represented  as  sitting  on 
the  platform  holding  little  Pearl  fondly  in  her 
arms.  The  face  of  the  woman  is  of  a  strong  type 
of  beauty,  refined  and  sensitive.  She  sits  facing 

129 


HEBERT 

No.  go 

RETURNING   FROM 
THE  WELL" 


No.  59 

'THE  SCARLET 
LETTER" 


you,  with  her  eyes  directed  at  some  imaginary 
MERLE  object.  She  seems  to  be  looking  back  into  the 
dim  past,  as  if,  combining  its  events  with  the 
present,  she  might  see  out  into  the  yet  unfath- 
omed  future.  While  she  broods  she  uncon- 
sciously presses  the  child  to  her  bosom,  as  if 
to  shield  it  from  some  impending  fate.  A  lux- 
uriant wealth  of  black  hair  falls  in  abundant 
waves  on  either  side  of  her  head,  framing  it 
charmingly.  The  painting  of  the  flesh  of  the 
child  is  of  the  tenderest  sort.  It  is  like  certain 
flowers  which  are  so  delicate  that  to  touch  them 
would  mar  their  beauty.  Nestling  in  the  securi- 
ty of  the  arms  of  her  mother,  the  little  one  looks 
into  the  depths  of  her  eyes  as  if  trying  to  pene- 
trate her  inmost  thoughts.  Behind  her  and  dis- 
appearing in  the  distance,  are  two  men,  who 
are  pointing  toward  her,  emphasizing  the  in- 
dignity of  her  position.  The  canvas  is  painted 
with  attention  to  detail  and  the  textures  are 
carefully  developed.  The  picture  is  solid,  re- 
fined and  beautiful,  and  the  conception  of  the 
artist  met  with  the  hearty  approval  of  Haw- 
thorne, who  saidfit  fulfilled  perfectly  his  ideal 
of  the  scene. 

DOUARD  BRANDON 
ABelgian  by  birth,  Bran- 
,don  died  quite  young, 
leaving  few  works  be- 
jhindhim.  Littleis  known 
iofhislife,buttheonepict- 
fure  by  him  in  this  collec- 
tion shows  him  to  have 
been  a  painter  of  unusual 
powers.    It  is  by  a  man 

who  should  be   ranked   among   the   serious 
painters  of  the  day  and  would  do  credit  to  Ge- 
rome,  whose  manner  it  somewhat  resembles. 
The"Portuguese  Synagogue  atAmsterdam" 
130 


is  a  very  remarkable  picture,  both  in  the  per- 
fection of  its  drawing  and  in  the  quaintness  of 
its  subject.  It  perpetuates  a  religious  cere- 
mony that  seems  strange  to  unaccustomed 
eyes,  one  which  has  been  evolved  out  of  the 
older  and  more  orthodox  ones  of  the  Jewish 
church  and  differs  entirely  from  the  latter-day 
Israelitish  forms.  In  the  center  of  a  synagogue 
architecturally  imposing  is  a  square  enclosure 
surrounded  by  railings.  Inside  stands  a  Rabbi 
in  a  long  robe,  and  wearing  a  tall  black  beaver 
hat;  over  this  is  thrown  a  white  veil  that 
reaches  to  the  floor.  Around  him  are  a  num- 
ber of  assistants.  Sitting  and  standing  just  out- 
side of  the  railing  are  a  number  of  old  gentle- 
men of  venerable  mien,  dressed  precisely  like 
the  Rabbi,  and  also  wearing  beaver  hats  and 
veils.  The  congregation  is  composed  entirely 
of  groups  of  men,  excepting  a  gallery  in  the 
far  end  of  the  room,  where  some  women  are 
seen.  Great  massive  columns  of  stone  rise 
from  the  floor  to  the  ceiling.  There  is  a  sol- 
emnity expressed  in  the  picture  that  is  in- 
stantly felt.  The  coloring  is  sober,  an  olive 
gray  tone  pervading  the  entire  composition. 
It  is  a  picture  that  speaks  for  itself,  and  the 
fact  that  the  painter  was  unknown  to  fame 
does  not  in  any  way  mar  its  message  or  true 
worth. 


BRANDON 

No.  128 

"PORTUGUESE 

SYNAGOGUE  AT 

AMSTERDAM" 


VII 


DOUARD 

The  great  sympathetic 
movement  which  is  the 
glory  of  modern  French 
art,  and  of  which  Chardin 
was  the  progenitor,  reap- 
peared again  in  Charles 
Fortin,  who  brought  into 
it  an  ease,  a  grace  that 
was  lacking  in  Chardin's 
work.  This  movement  finally  culminated  in 
Millet  and  Frere,  who,  while  yet  in  the  studio 
of  Delaroche,  speaking  of  his  master,  said, 
"What  he  has  done  for  dukes, saints  and  heroes 
I  will  try  to  do  for  these  inglorious  folk  of  the 
by-way."  He  took  up  the  work  in  which  his 
affections  centered  and  painted  poverty,  un- 
conscious and  beautiful.  Especially  drawn  to 
child  life  among  the  peasants,  he  saw  in  these 
little  ones  something  deeper  and  more  inter- 
esting than  their  nut  brown  complexions  or 
the  paintable  qualities  of  their  costumes.  He 
would  often  paint  a  group  of  children  in  a  room 
whose  walls  were  bare  and  without  decora- 
tions, yet  by  the  earnestness  of  his  work  every 
part  of  the  canvas  possesses  a  charm  which 
you  instantly  feel.  The  children  of  his  pictures 
are  happy  in  their  environments;  indeed  to 
their  inventive  fancy  the  great  world  centers 
in  their  playthings.  Into  his  little  pictures  of 
humble  life  Edouard  Frere  has  breathed  a  love, 
132 


a  tenderness,  that  sinks  deeply  into  the  affec- 
tions. He  has,  as  it  were,  taken  the  flowers  of 
the  field  and  grafted  them  into  the  human 
heart.  Speaking  of  this  sympathetic  move- 
ment as  compared  with  contemporaneous  art 
John  Ruskin  said,  "It  is  mainly  because  the 
one  painter  has  communion  of  heart  with  his 
subject,  and  the  other  only  casts  his  eye  upon 
it  feelinglessly,  that  the  work  of  one  is  greater 
than  the  other."  This  is  the  secret  of  Frere's 
art.  In  his  little  canvases  you  feel  the  pulsa- 
tions of  a  big  warm  heart,  beating  in  unison 
with  the  subjects  chosen,  touching  everything 
with  the  same  spirit  that  caused  Burns  and 
Wordsworth  to  sing  the  songs  of  the  flowers 
of  the  field.  Such  art  will  live  because  of  its 
human  sympathy,  and  its  influence  will  be 
felt  wherever  the  love  of  home  and  of  child- 
hood is  treasured. 

When  the  shadows  of  war  and  death  hung 
over  France  some  Prussian  officers  were  go- 
ing the  rounds  of  the  Parisian  studios.  Com- 
ing to  that  of  Frere,  their  hilarity  ceased. 
Touched  by  these  pictures  of  humble  life, 
which  brought  the  memory  of  the  Fatherland 
vividly  before  them,  they  issued  orders  that 
the  painter  of  them  should  go  and  come  unmo- 
lested, and  that  his  studio  should  be  protected 
during  their  occupancy. 

There  are  six  beautiful  examples  of  Frere's 
art  to  be  seen  in  this  collection.  "Preparing 
Dinner,"  is  the  largest  and  is  hung  with  the 
smaller  canvases  grouped  around  it.  Here  you 
have  a  beautiful  painting  of  an  old  kitchen  in 
a  well-to-do  peasant  family.  Running  diagon.- 
ally  across  the  picture  is  the  outer  wall  of 
rough  plaster.  Toward  the  center  is  an  arch- 
way that  leads  to  a  window.  On  the  walls  of 
this  archway  are  hung  ladles  and  spoons,  and 

133 


FRERE 


"He  painted  the 
country  children  in  all 
their  performances 
and  amusements,  in 
a  way  that  made  him 
the  Columbus  of  a 
before  undiscovered 
world  around  the 
capital.  *  *  He 
harvested  every  district 
of  France,  always 
returning  with 
golden  sheaves." 
Moncure  D.  Conway 


No.  124 

'PREPARING 
DINNER" 


FRJLRE  a  sketf  across  the  bottom  of  the  window  is 

filled  with  apples  and  onions.  Stooping  over 

e  painted  the  simple  *nd  emptying  something  from  a  brown  bowl 

peasants  as  he  saw  into  a  larger  vessel  is  an  old  peasant  woman 

m togihenhimE  whose  figure  is  bunchy  and  picturesque.  The 

objects  hanging  on  light  from  the  window  falls  like  a  benediction 

*££££+  on  her  head-  Just  back  of her  is  a  larse  brown 

that  appealed  to  the  earthen  jug,  a  water  bucket  and  some  bits  of 
g^nryeBaScon  blue  ware.  A  quaint  old  chest  is  at  the  inner 
end  of  the  arch;  on  it  is  a  split  basket  in  which 
you  see  a  piece  of  pumpkin.  A  large  head  of 
cabbage  lies  on  the  floor.  Back  of  the  chest, 
and  partly  lost  in  the  shadow  of  the  corner  of 
the  room,  stands  an  old  cupboard,  on  which 
are  seen  jugs,  bottles  and  other  utensils.  Start- 
ing from  the  alcove  and  running  to  the  upper 
right-hand  corner  of  the  picture  a  line  is 
stretched  on  which  hang  some  clothes.  There 
is  a  wonderful  charm  about  this  canvas.  It  ex- 
presses the  home  idea  of  simple  plenty  where- 
in contentment  dwells.  The  coloring  is  rich 
and  beautiful.  In  the  depths  of  its  shadows  it  is 
wonderful.  The  quiet  subdued  light  seems  to 
hallow  everything  it  touches,  and  as  you  con- 
template this  picture  you  feel  the  sensations 
that  thrilled  the  painter,  whose  tender  nature 
fitted  him  for  rendering  the  charm  of  such  a 
scene. 

In  the  center  of  a  room  is  seen  an  old  porce- 
"THE°L,rrTLE  la*n  stove'  small,  and  square  in  shape.  Around 
HOUSEKEEPER"  ^  are  bands  of  brass  to  hold  the  porcelain  in 
place.  A  brown  earthen  stew  pot  is  on  the 
stove  and  bending  over  it  is  a  sweet-faced  lit- 
tle girl.  "The  Little  Housekeeper"  is  busily 
stirring  the  contents  with  a  large  spoon.  Scat- 
tered about  the  floor  are  bits  of  wood.  A  yellow 
gray  jar  stands  in  front  of  the  stove,  through 
whose  doors  a  bit  of  fire  flickers  dimly.  At  the 
back  is  an  alcove  in  which  are  bottles,  jars  and 

134 


various  cooking  utensils.  On  the  wall  a  coffee 
box  and  some  tin  dishes  hang.  The  corner  of 
a  window  comes  in  one  side  of  the  canvas.  The 
coloring  of  the  picture  is  warm,  tender  and 
sympathetic.  There  is  an  earnestness  in  every 
touch  that  tells  with  charming  effect. 

"Helping  Herself"  shows  a  bright  little  miss, 
her  joy  centered  in  a  pitcher  of  milk,  whose 
contents  she  samples  with  intense  satisfac- 
tion. Her  little  figure  is  bent  backwards  to  off- 
set the  weight  of  the  pitcher.  The  drawing  of 
this  little  girl  is  charming;  she  is  the  essence 
of  childhood.  The  greater  part  of  her  face  is 
concealed  by  the  mouth  of  the  pitcher,  but 
enough  is  revealed  to  show  a  rosy  complexion 
surrounded  by  glossy  yellow  hair.  She  stands 
in  front  of  a  window,  and  the  light  touches 
her  affectionately.  Opening  out  of  the  wall  is 
a  cupboard,  above  which  is  an  alcove  filled 
with  dishes.  On  the  wall  is  a  curious  willow 
rack  in  which  spoons  are  arranged.  The  floor 
is  made  of  yellowish  gray  tile.  Throughout 
the  entire  canvas  there  is  a  transparent  amber 
tone.  It  is  a  simple  bit  of  child  life  tenderly 
painted. 

In  "A  Cold  Day"  you  are  introduced  into  a 
more  spacious  room.  Here  you  see  also  the  be- 
ginning of  an  art  idea,  asserted  by  several  pict- 
ures from  the  illustrated  papers  tacked  on  the 
wall.  In  the  center  of  the  room  are  three  chil- 
dren gathered  around  a  diminutive  stove.  One 
little  boy  sits  on  a  bench,  his  feet  resting  on  the 
hearth  of  the  stove.  To  the  left  of  him  is  a  little 
miss  who  is  stooping  over  to  warm  her  hands. 
Her  sweet  face,  beautiful  in  its  childishness,  is. 
turned  sympathetically  to  the  little  brother  by 
her  side.  Bits  of  brown  hair  peep  from  under  a 
black  cap.  Standing  back  of  her  is  a  large  boy 
in  a  whitish-gray  blouse  and  a  strange  cap,  the 

135 


FRERE 


No.  126 
"HELPING 
HERSELF" 


No.  125 
"THE  COLD  DAY" 


FRERE 


No.  123 
'GOING  TO  SCHOOL' 


No.   122 

"THE  LITTLE 
DRESS-MAKER' 


front  of  -which  comes  down  under  his  chin.  At 
the  rear  is  a  pine  table  on  which  is  a  gray  stone 
jug,  some  bowls,  glasses  and  dishes.  The  same 
beautiful  sentiment  for  home  life  is  felt  here  as 
in  all  the  others. 

"Going  to  School"  is  an  incident  of  boyhood. 
It  is  winter  and  the  ground  is  covered  with 
snow.  You  get  a  glimpse  of  a  street,  dreary  and 
deserted,  save  by  a  lonely  cab  seen  in  the  dim 
distance.  The  air  is  cold  and  frosty.  In  the  front 
of  the  picture  a  boy  is  seen  walking  briskly. 
The  action  is  finely  expressed.  He  wears  a 
cap  with  great  ear  muffs,  and  has  a  red  com- 
forter around  his  neck.  Strapped  on  his  back 
is  a  school  satchel  and  a  dinner  bucket.  He  is 
stooping  forward,  holding  his  face  so  that  the 
brim  of  his  cap  protects  it  from  the  wind,  which 
blows  stiffly.  His  hands  are  pushed  deeply  in- 
to his  pockets.  Although  simple  in  subject,  it 
is  seriously  painted,  and  with  great  care. 

"The  Little  Dress-Maker"  is  one  of  the  dain- 
tiest of  the  group,  and  one  that  appeals  to  you 
with  the  tenderest  sympathy.  In  the  little  doll 
mother  you  can  trace  all  those  beautiful  attri- 
butes which  cluster  around  home  life  and  make 
it  sacred.  This  embryo  mother  is  deeply  ab- 
sorbed in  making  a  dress  for  her  little  doll, 
which  to  her  childish  fancy  is  as  dear  as  the 
real.  Sitting  on  a  step  in  front  of  a  door  lead- 
ing out  of  the  room  is  the  motherly  little  girl. 
Her  hair  is  brushed  down  primly  over  her  tem- 
ples and  gathered  into  a  knot  on  the  back  of  her 
head.  She  is  a  picture  of  tidiness  as  she  sits  ply- 
ing the  needle  whose  every  stitch  is  sealed  with 
love.  The  doll,  which  she  holds  between  her 
knees,  seems  watching  patiently  the  bit  of  pink 
out  of  which  a  new  dress  is  being  shaped.  On 
the  floor  in  front  of  her  is  a  little  box  filled  with 
bits  of  rags,  the  belongings  of  the  doll-child, 
136 


while  on  a  chair  to  the  right  is  a  small  toy  dress- 
er. The  little  girl  wears  a  brown-black  waist, 
greenish-blue  apron  and  a  brown-red  dress, 
and  a  blue  handkerchief  is  around  her  neck. 
On  the  floor  is  a  pair  of  scissors.  There  is  some- 
thing so  peaceful  and  beautiful  in  this  minia- 
ture domestic  scene  that  one  can  almost  pict- 
ure out  the  future  of  this  child.  You  feel  the 
emotion  of  the  artist  whose  heart  was  touched 
by  the  beauty  of  the  incident,  and  who  has 
transmitted  to  posterity  that  which  he  so  deep- 
ly felt;  something  which  all  who  see  the  pict- 
ure may  share. 

UDWIG  KNAUS^Z 
Among  the  painters  of 
child  life  who  have  hon- 
ored the  present  century, 
Knaus  stands  as  one  of 
the  best.  As  an  interpre- 
ter of  childish  character 
as  found  in  the  villages 
and  hamlets  of  "the 

Fatherland"  no  one  has 

surpassed  him.  He  has  studied  all  the  charac- 
teristics of  childhood  and  has  caught  with  rare 
skill  those  attributes  that  belong  to  rustic  life. 
Like  Edouard  Frere,  he  has  sung  the  song  of 
the  "inglorious  folk  of  the  by-way,"  only  with 
more  realism  than  his  gentle  brother.  There  is 
a  mingling  of  the  grave  and  the  gay  that  is  de- 
lightful, in  the  subjects  chosen  by  this  master, 
and  while  his  manner  differs  widely  from  that 
of  his  French  contemporary,  the  same  serious 
love  of  children  is  felt  in  his  efforts.  It  is  said 
of  him  that  he  entered  the  Berlin  Academy 
with  limited  resources,  and  as  soon  as  they 
were  exhausted  he  was  dismissed,  as  not  pos- 
sessing any  especial  talent.  Ten  years  later  he 
was  selected  as  professor  of  painting  in  the  in- 

137 


FRERE 


"The  finest  character- 
istic of  modern  art 
is  its  sympathy.     In 
ancient  times  the  best 
art  frequented  the 
palace;  now  it  lingers 
in  the  cottage.  And 
he  who  of  all  men 
truliest  represents 
this  sympathetic 
tendency  is  rightly 
named  Edouard  Frere- 
Edouard  the  Brother." 
John  Ruskin 


LNAUS  stitution.  Knaus  has  been  honored  by  almost 
every  civilized  country  and  his  works  are 
treasured  by  all  connoisseurs.  This  collection 
possesses  two  choice  examples  of  his  art,  the 
larger,  called  "Mud  Pies,"  being  exception- 
ally fine. 

In  a  low-toned  landscape,  several  children 
are  seen  engaged  in  making  mud  pies.  On  the 
right  side  of  the  canvas  lies  an  old  log,  the 
nearer  end  of  which  is  flat  on  the  top,  forming 
a  table  on  which  the  mud  is  being  kneaded 
and  shaped.  Standing  at  the  end  of  the  log  is 
a  little  boy  who  is  perhaps  enjoying  his  first 
pair  of  trousers;  his  back  is  turned  toward  us 
and  his  attitude  is  the  very  essence  of  child- 
ishness. His  clothes,  which  are  a  dark  olive 
brown  color,  seem  to  fit  too  snugly  about  his 
shoulders,  causing  the  trousers  to  hitch  up  at 
the  sides,  and  the  absence  of  a  button  or  two 
adds  to  the  picturesqueness  of  his  costume. 
This  youngster  is  busily  engaged  in  flattening 
out  some  mud  on  the  log  in  front  of  him.  His 
tow-colored  hair  shines  with  silken-like  gloss, 
and  hangs  in  ringlets  about  his  neck.  At  his 
side  is  a  tot  of  a  girl  whose  face  is  framed  in 
golden  hair.  She,  too,  is  absorbed  in  kneading 
mud.  A  blue  cap  crowns  her  head,  and  the 
sleeves  of  her  waist  being  rolled  up,  show  that 
her  arms  still  retain  the  dimples  of  babyhood. 
Her  dark  blue  dress,  tucked  up  behind,  dis- 
plays a  pair  of  rosy  bare  feet.  Sitting  on  the 
log  is  a  larger  girl,  a  fine  type  of  German  child- 
hood. She  seems  to  be  head  steward  and  is 
giving  orders  to  a  wee  child  who  runs  toward 
her  in  a  stumbling  baby-like  way,  with  both 
hands  full  of  dirt.  She  fairly  beams  with  hu- 
mor as  she  notes  the  earnestness  of  the  little 
one  who  waits  on  her.  This  smaller  girl  is  a 
picture  of  childish  innocence,  as  she  runs  with 

138 


wide  open  mouth.  Her  hair,  all  matted  and 
tangled,  is  of  reddish  golden  hue.  She  wears 
a  dress  of  warm  red,  from  underneath  which 
a  bit  of  white  skirt  draggles.  In  the  lower  left 
hand  corner  a  serious  little  maiden  is  digging 
up  mud  with  her  hands  from  a  shallow  ditch 
that  runs  across  the  commons.  She  is  a  bru- 
nette with  a  red  cap  and  blue  dress,  and  seems 
to  feel  the  gravity  of  the  occasion.  Quite  a 
distance  back  is  a  boy  who  knows  how  to  save 
labor.  He  stands  with  his  legs  wide  apart  and 
a  pile  of  mud  between  his  feet.  Holding  his 
hands  in  such  a  way  as  to  avoid  soiling  his 
clothes,  he  calls  lustily  for  some  one  to  come 
and  carry  the  mud  for  him.  He  is  a  lazy,  un- 
kempt youngster  who  might  nevertheless  de- 
velop into  a  genius,  his  face  displays  so  much 
intelligence  and  character.  He  is  barefooted, 
but  a  long  blouse  adorns  him.  Back  of  him  a 
swine-herd  is  seen  driving  swine  across  the 
commons.  Still  farther  back  some  houses 
crown  the  sloping  green  with  here  and  there 
a  gnarled  old  apple  tree  to  add  to  the  pictur- 
esqueness  of  the  scene.  The  color  of  the  pict- 
ure is  rich,  deep,  and  harmonious,  and  in  it  one 
of  those  scenes  from  childhood  that  most  of  us 
rememberisbroughtbeforeuswith  vjvid  truth. 
"The  Truant"  is  an  incident  of  boy  life  that 
comes  within  the  universal  experience  of  man. 
In  the  center  of  the  picture  is  an  old  lady  whose 
temper  has  been  wrought  up  to  a  high  pitch. 
Her  face  and  clenched  fist  plainly  indicate  the 
penalty  in  store  for  the  offender,  a  bright  little 
boy  who  trots  doggedly  in  front  of  her.  He  is 
nude  and  carries  his  clothes  in  his  hands.  In 
the  background  is  a  shallow  stream,  where  his 
companions  are  seen  paddling  in  the  water.  A 
larger  boy  stands  on  a  sand  bank  and  taunts 
his  unfortunate  companion.  This  is  undoubt- 

139 


KNAUS 


"I  will  not  venture  to 
compare  this  greatest 
of  German  genre 
painters  with  Hogarth, 
mainly  because  the 
two  stand  so  wide 
asunder,  and  yet  they 
are  similar  in  satire, 
in  shrewd  insight 
into  individual 
character,  as  well  as  in 
sympathy  with  nature, 
in  her  unsophist- 
icated form." 

J.  Beavington 
Atkinson 


No.  4 
"THE  TRUANT" 


KNAUS  edly  the  bad  boy  of  the  neighborhood.  The 
light  from  the  lowering  sun  gives  a  ruddy, 
golden  glow  to  everything,  and  falling  on  the 
flesh  of  the  naked  bathers  lends  them  a  glow 
of  color  that  is  very  beautiful.  The  front  of  the 
picture — rocks,  weeds,  flowers,  and  a  bit  of 
old  fence  over  which  vines  trail — is  in  shadow. 
A  ray  of  light  striking  on  the  old  lady's  white 
waist  throws  the  shadows  into  purpling  grays. 
The  drawing  and  coloring  is  strong  and  true, 
possessing  all  of  the  seriousness  that  is  a  dis- 
tinct characteristic  of  the  artist. 


VIII 


ARL 

Carl  Becker,  one  of  the 
most  distinguished  of  liv- 
ing German  artists,  is 
noted  as  a  technicist  of 
great  skill.  He  chooses 
subjects  that  afford  him 
an  opportunity  to  display 
his  powers.  His  pictures 
are  quite  popular -with  the 
collectors  of  our  country,  as  well  as  those  of 
Europe.  A  picture  from  his  brush  here  is  call- 
ed "A  Petition  to  the  Doge."  It  is  an  incident 
of  the  palmy  days  of  Venice  and  presents  a 
scene  of  much  elegance.  Standing  in  the  inner 
court  of  his  palace  is  the  Doge,  tall,  dignified 
and  dressed  with  official  pomp.  His  robes  are 
of  dull  gold  and  red,  trimmed  with  ermine;  a 
red  cap  adorns  his  head.  He  is  reaching  out 
his  hand  to  a  lady  who,  dressed  in  black,  is  de- 
livering a  paper  to  him.  She  is  in  a  kneeling 
posture  and  presses  the  form  of  a  little  child 
closely  to  her  side  as  if  fearful  of  some  impend- 
ing danger.  Just  back  of  the  lady,  and  half  con- 
cealed in  shadow,  is  a  man  whose  presence 
seems  ominous.  In  the  court  are  a  number  of 
figures,  among  them  a  beautiful  young  page 
who  seems  deeply  concerned  in  the  affair.  To 
the  left  stands  a  halberdier,  stiff  and  official. 
His  uniform  is  of  somber  purple-red,  black  and 
fawn  color.  The  interior  of  the  court  and  cham- 

141 


No.  33 

"THE  PETITION 
TO  THE  DOGE" 


BECKER  ker  is  very  elegant  with  its  elaborate  hanging 
and  inlaid  floor.  The  picture  is  rendered  with 
great  technical  strength,  and  is  rich  and  glow- 
ing in  color.  The  painting  of  the  flesh  is  mas- 
terly,and  the  expression  of  the  faces, especially 
of  the  woman  and  child,  is  beautiful.  The  dra- 
pery is  also  finely  characterized,  Becker  being 
noted  for  his  skill  in  the  painting  of  brilliant 
stuffs. 

'NDREAS  ACHEN- 
ACH^CThe  art  of 
Achenbach  was  natural- 
listic  and  remarkable  for 
iits  dramatic  effect  of  light, 
kshade  and  motion.  He 
[was  essentially  a  painter 
>of  startling  effects  and 
as  especially  fond  of 
painting  wild  and  tumul- 
tuous seas  under  the  influence  of  a  storm.  He 
was  one  of  the  leaders  of  the  once  famous 
Dusseldorf  school.  There  are  two  of  his  best 
canvases  in  this  collection,  both  representing 
"WINDY  DAY  AT  nature  in  unrest.  The  "Windy  Day  at  Schev- 
SCHEVENING"  ening"  is  a  scene  on  a  wild  and  picturesque 
coast,  a  bluff  above  the  sea  where  some  quaint 
low  stone  buildings  are  grouped.  A  dangerous 
storm  cloud  envelops  the  sky,  and  the  waves, 
dashing  madly  against  the  shore,  are  torn  into 
a  seething  mass  of  foam  that  is  caught  up  by 
the  furious  winds.  White  sea  gulls  flit  here  and 
there,  adding  to  the  dreariness  of  the  scene.  A 
rift  of  sunlight  falling  on  the  buildings  in  the 
center  of  the  picture,  striking  their  red  tile 
roofs  and  creamy  white  walls,  produces  a 
startling  effect.  The  earth  is  scant  of  verdure 
and  is  covered  with  sand,  which  is  blown  and 
whirled  about  by  the  wind.  Some  peasant 
women,  huddled  together,  are  struggling  to 
142 


gain  the  bluffs  overlooking  the  sea,  the  blow- 
ing sand  partly  obscuring  their  figures.  At  one 
side  is  an  old  fortification  where  some  rusty 
cannon  are  half  buried  in  the  earth;  near  by 
an  old  woman  crawls  on  the  ground  striving 
to  gain  a  view  of  the  sea.  Some  men  on  a  tur- 
ret are  tugging  helplessly  at  a  signal  flag  which 
is  almost  blown  from  the  staff;  just  beyond  is 
a  watch  tower.  The  effect  of  the  wind,  the 
gloom  of  the  sky  and  the  marvelous  sunlight 
are  rendered  with  realistic  truth. 

The  same  power  for  delineating  the  storm  is 
shown  in  "ClearingUp — Coast  of  Sicily."  The 
sun  is  partly  gone  down  behind  a  cloud  that 
lies  low  in  the  horizon,  turning  its  edges  into 
gold.  The  horizon  is  warm  and  glowing;  the 
higher  clouds  are  dark  and  gloomy,  but  bars 
of  light  radiate  from  the  sun,  tearing  their  way 
through  them.  The  sky  is  grand  in  its  wild- 
ness,  and  the  water,  while  not  painted  as  well 
as  the  sky,  yet  is  fine.  As  a  whole,  the  gloom 
of  the  coming  night  is  rendered  with  great 
skill,  showing  a  serious  study  of  those  turbu- 
lent expressions  of  nature  which  Achenbach 
rendered  with  honesty  and  great  seriousness. 

ARL  LEOPOLD  MUL- 
LER  C^£  4K  Muller  is 
a  Professor  in  the  Acad- 
emy  of  Vienna  and  a 
painter  of  many  distin- 
guished pictures.  His 
style  is  chaste  and  free 
from  sensationalism,  and 
his  coloring  of  a  rich 
transparent  kind  that  is 
always  delightful.  In  the  five  small  sketches 
in  Egypt,  which  represent  the  artist  in  Mr. 
Walters'  collection,  there  will  be  seen  the  re- 
sult of  the  thoroughness  with  which  the  artist 

143 


ACHENBACH 


"The  tendency  of 
Achenbach's  genius 
is  realistic  in  the 
highest  and  best  sense 
of  the  word.    He  ex- 
plores nature  in 
her  most  secret  traits, 
in  order  to  seize  upon 
what  is  characteristic 
in  essence, 
form  and  color." 

Henry  Ottley 

No.  55 

"CLEARING  UP— 
COAST  OF  SICILY" 


No.  i 

"FIVE  STUDIES 

FROM  LIFE  IN 

EGYPT" 


MULLER  studies  his  subjects.  These  little  pictures  are 
framed  into  one  long  panel  and  are  quite  deco- 
rative in  effect.  In  the  center  of  the  panel  is 
a  study  of  the  head  of  an  Egyptian  beauty. 
The  face  is  a  refined  one.  Her  almond-shaped 
eyes,  strange  and  dreamy  in  expression,  are 
of  that  dark  and  liquid  brown  that  belongs  to 
the  Orient.  Her  mouth,  -which  is  rather  vol- 
uptuous, is  charming.  The  nose  is  very  ex- 
pressive, and  her  shapely  neck  is  lost  in  filmy 
white  drapery.  The  head  is  crowned  with  a 
wealth  of  brown-black  hair,  on  top  of  which 
is  a  bit  of  red  drapery,  brought  in  dark  contrast 
against  a  cool  amber-toned  background.  The 
rich  warm  blood  of  the  East  courses  through 
the  soft  olive-toned  flesh.  While  the  features 
are  very  carefully  painted,  there  is  nothing 
about  them  that  suggests  laborious  work. 

The  panel  on  the  right  of  this  represents  an 
old,  tumbled-down  fire-place  and  hearth  on 
which  are  scattered  bits  of  brick,  tile,  ashes 
and  debris.  It  is  done  with  an  exquisite  touch. 
The  ashes  on  the  hearth  are  so  lightly  painted 
that  you  imagine  that  a  draft  down  the  chim- 
ney would  send  them  flying.  On  the  left  of 
the  center  panel  is  a  study  of  a  room,  with 
walls  of  red  and  buff  tile,  set  in  stripes.  A  fire- 
place blackened  with  soot,  some  old  chairs, 
and  a  broken  doorway  through  which  you  get 
a  glimpse  of  light,  completes  the  picture.  It  is 
charming  in  color;  warm  and  oriental  in  the 
extreme. 

The  two  pictures  at  either  end  of  the  frame 
are  carefully  painted  profile  studies  of  girls, 
evidently  painted  from  the  same  model.  Like 
the  other  panels,  they  possess  a  great  deal  of 
beauty  and  blend  with  them  into  one  harmoni- 
ous whole. 

144 


UGUSTE  PETTEN- 
KOFEN^€"The  Mar- 
ket of  Sznolnok,  Hun- 
gary," is  a  noted  example 
of  the  'work  of  Petten- 
kofen,  who  is  celebrated 
for  his  unusual  skill  in 
finish  and  truth  of  atmos- 
phere. He  has  been  a 
faithful  studentof  certain 
old  Dutch  and  Flemish  masters,  and  his  pict- 
ures possess  much  of  their  seriousness.  This 
canvas  is  small,  notwithstanding  which  the 
figures  are  executed  in  a  manner  that  would 
put  to  shame  many  more  pretentious  paint- 
ers. Here  are  picturesque  low  huts  with 
thatched  roofs,  market  stalls,  and  the  various 
carts  and  vehicles  incidental  to  a  market. 
Groups  of  people  stand  about  in  bright  col- 
ored costumes,  talking  and  bartering.  Vege- 
tables, flowers  and  stuffs  give  bright  bits  of 
color.  In  the  foreground  are  scattered  pump- 
kins, melons,  geese,  ducks  and  cabbage.  To 
the  left,  and  coming  toward  you,  is  a  cart  to 
which  three  horses  are  hitched.  They  are  ad- 
vancing at  great  speed,  and  cause  clouds  of 
dust  to  rise  from  the  road.  The  picture  is  quiet 
and  gray  in  tone,  and  in  coloring  rather  cool. 
The  carefulness  of  finish  and  the  skillfulness 
with  which  the  figures  and  animals  are  stud- 
ied make  it  one  of  the  most  remarkable  of  the 
small  canvases  of  the  collection,  and  unlike 
anything  ever  seen  by  the  writer. 


No.  no 

'THE  MARKET  OF 
SZNOLNOK, 
HUNGARY" 


"A  long  study  of  'The 
Hungarian  Market* 
has  induced  this 
pleasant  recapitula- 
tion of  the  facts  of  this 
artist's  career,  and 
begotten  the  desire  to 
make  the  name  of  the 
Austrian  Meissonier 
a  more  familiar 
household  word  in  the 
western  world." 

Stranahan 


IX 


OSEPH  M.W.TUR- 
NER tf^£  What  Byron 
wrote  of  Venice,  Turner 
painted  in  brilliant,  scin- 
tillating colors.  He  was 
not  only  a  man  of  marked 
genius  and  originality  as 
a  painter,  but  was  a  poet 
of  the  most  ideal  type.  In 
his  painting  he  was  not 
always  ;true  to  individual  nature;  he  sought 
rather  to  depict  the  emotional  picture  which 
took  form  while  he  contemplated  her.  Within 
him  were  vast  resources  of  the  stuff  which 
dreams  are  made  of.  Scientific  facts,  botanical 
truths,  never  bothered  him,  because  he  dealt 
with  feeling  alone.  Possessing  the  genius  for 
work,  and  an  utter  disregard  for  conventional 
forms,  he  developed  great  powers  in  certain  di- 
rections, light,  color  and  atmosphere  being  his 
supreme  attainments.  In  these  respects  he  car- 
ried his  art  beyond  that  of  any  previous  epoch. 
The  unfathomed  depth  of  shadow  and  the  brill- 
iant dazzling  light  of  a  noonday  sun  were  his. 
Speaking  of  his  paintings,  the  late  William  M. 
Hunt  said,  "One  hundred  years  from  now  Tur- 
ner will  be  counted  among  the  greatest  who 
ever  lived.  He  could  carry  the  scale  higher  and 
farther  than  any  one  else;  his  colors  are  irides- 
cent. The  Venetians  could  get  such  colors  only 
by  painting  transparently,  but  his  is  solid 
146 


throughout."  No  one  looking  at  this  picture 
will  doubt  this  estimate  of  Turner's  genius. 

The  one  picture  by  Turner  in  the  collection, 
his"Grand  Canal,Venice,"is  a  triumphin  these 
respects.  Pitched  in  a  high  key,  the  entire  can- 
vas revels  in  a  pale  yellow-white  atmosphere 
of  the  dreamiest  sort,  into  which  everything  is 
painted  with  a  solid,  sure  touch.  The  sky  is  of 
a  warm,  silvery  blue-gray  tone,  flakey  white 
clouds  forming  an  archway  which  curves 
gracefully  down  until  lost  in  the  horizon  where 
mystery  reigns  supreme.  On  either  side  and  at 
the  back  are  buildings  of  a  warm  whitish  color 
which  seem  to  shimmer  and  dance  in  the  hot 
sunlight  in  which  they  arebathed.  These  lights 
are  painted  with  a  firmness  which  shows  a 
thorough  grasp  of  the  subject.  The  shadows  of 
the  most  tender  blue-gray  have  a  color  effect 
like  that  of  an  opal.  They  mingle  with  the  sky 
and  form  a  background  more  dreamy  and  po- 
etic than  can  be  imagined.  It  is  a  picture  of 
light,  distinct  and  original.  In  the  center  of  the 
canvas  boats  and  gondolas  are  grouped  into  a 
highly  picturesque  mass  of  color.  Here  emer- 
ald and  sapphire,  indescribable  blue  and  am- 
ber, are  set  amid  pearls,  forming  a  revelry  of 
color  which  charms  the  senses.  These  objects 
recede  in  a  long  row  until  lost  in  the  distance. 
Buildings  and  boats  are  reflected  in  broken 
colors  in  the  water,  their  beauty  enhanced  by 
the  tremulous  effect  produced  by  the  slightly 
agitated  surface  of  the  canal.  It  is  a  poem  of 
strange  and  mysterious  beauty,  a  dream  of 
Venice,  such  as  could  only  come  from  a  super- 
sensitive,  poetic  nature.  Such  was  Turner's. 


TURNER 

No.  157 

"GRAND  CANAL 
VENICE" 


"Turner  is  a  most  in- 
structive subject 
for  the  student  of  art, 
because  he  is  always 
and  above  all 
things  the  artist. 
With  all  his  study  of 
objects  and  effects, 
he  was  never  a 
naturalist.  The  real 
motive  of  every  one  of 
his  compositions  is 
to  realize  some  purely 
artistic  conception, 
not  to  copy  what 
he  saw;  consequently 
he  lived  in  a  state 
of  mental  activity  and 
feeling  which  can 
not  be  the  least  under- 
stood until  we  know 
what  the  artistic 
intelligence  is,  and 
what  are  its  necessities, 
its  purposes, 
and  its  aspirations." 
Hamerton 


147 


No.  118 
"A  ROMAN 
EMPEROR- 
CLAUDIUS" 


AURENZ  ALMA- 
TAD  E  M  A  C^£  One  of 
the  distinct  characters  in 
the  art  of  the  century  is 
Tadema.  He  possesses  a 
strong  individuality  and 
a  style  that  is  purely  his 
own.  No  painter  living 
has  greater  genius  for  in- 

vention  than  he;  he  has 

a  refinement,  a  certain  repose,  a  wonderful 
knowledge  of  the  various  objects  which  go  to 
make  up  his  pictures  that  is  unequaled.  In 
subject  his  pictures  are  usually  classic,  but 
while  true  to  the  sentiment  of  those  ages  they 
are  yet  filled  with  a  warmth  born  of  a  living, 
sensitive  spirit  in  touch  with  the  beauty  and 
life  about  him  to-day.  In  his  creative  life  Tad- 
ema lives  in  a  purely  classic  atmosphere.  What 
Fromentin  did  for  the  Orient  Tadema  has  done 
for  the  beautiful  ideals  of  the  Greeks  and  Ro- 
mans of  the  ages  long  ago.  True  to  the  epoch 
from  which  his  subject  is  chosen,  he  breathes 
into  the  pictures  which  others  would  paint 
with  severity  a  love  and  a  tenderness  which 
prove  him  to  be  a  poet-painter  of  the  first  rank. 
A  picture  by  him  received  the  unanimous 
vote  of  the  jury  at  the  World's  Fair  of  1893,  a 
distinction  conferred  on  no  other  artist  exhib- 
iting. This  collection  is  rich  in  the  work  of 
Tadema.  It  is  doubtful  if  five  as  great  pictures, 
of  equal  merit,  of  any  one  painter  can  be  found 
in  any  single  collection  in  the  world. 

"A  Roman  Emperor,"  is  the  largest  of  his 
canvases  in  the  gallery  and  one  that  is  unsur- 
passed in  intensely  dramatic  effect.  On  the 
floor  of  a  large  room  one  sees  the  dead  bodies 
of  Caligula  and  the  occupants  of  his  household. 
The  soldiers,  fearing  that  they  have  missed 
148 


some  member  of  his  family,  have  returned ; 
searching,  they  find  Claudius  concealed  be- 
hind some  tapestry.  A  soldier  is  seen  pulling 
the  hanging  to  one  side;  he  stands  in  a  mock- 
ing attitude  as  if  paying  homage  to  his  great- 
ness. Claudius  stands  as  pale  and  rigid  as  if 
dead.    Terror  and  cowardice  are  depicted  in 
every  muscle  and  tendon  of  his  body;  he  seems 
paralyzed  with  fright,  his  eyes  fairly  start  from 
their  sockets.  The  light  falls  squarely  on  this 
figure,  which,  with  his  robe  of  light  greenish 
blue  and  white  surrounded  by  the  pale  olive 
tones  of  the  tapestry,  makes  a  wonderful  mass 
of  color  in  light,  against  which  the  soldier  who 
holds  the  drapery  comes  in  bold  relief.  The 
painting  is  startling  in  its  realism — the  ghastly 
pallor  of  his  face,  the  deathlike  glare  of  his 
eyes,  the  open  mouth  through  which  almost 
comes  a  groan  of  despair,  only  checked  by  his 
intense  fright.   It  is  indeed  a  triumph  of  dra- 
matic art.    On  the  extreme  left,  beyond  the 
murdered  emperor  and  his  family,  are  the  sold- 
iers with  their  trappings  of  war,  armor,  shields 
and  draperies.  In  this  group  are  some  women 
whose  heads  and  the  upper  part  of  their  figures 
only  are  seen,  but  are  painted  with  a  relief  that 
is  remarkable.  This  group  with  its  rich  color 
and  texture  is  set  against  a  background  of 
warm  reds,  yellows  and  plum  colors.    The 
floor,  which  is  beautifully  inlaid  with  tile,  is 
of  fine  design  and  painted  with  rare  skill.  Just 
to  the  left  of  Claudius,  and  back  of  the  soldier 
who  exposes  him,  is  a  piece  of  furniture  of  rare 
beauty.    Then  there  is  the  wonderful  marble 
with  its  rich  color  and  texture  that  only  Tad- 
ema  can  paint.  The  entire  picture  is  executed 
with  a  power  supremely  dramatic. 

"Sappho"  is  one  of  Tadema's  most  poetic 
compositions.  In  it  the  wonderful  gifts  of  the 

149 


ALMA- 
TADEMA 


"  'The  Roman  Emperor" 
is  in  its  artistic  merits 
a  picture  thoroughly 
representative  of  the 
artist's  work, 
being  full  of  beauty 
and  color  of  an  inim- 
itable kind,  deep 
and  minute  in  explicit 
finish,  but  by  no 
means  small  in 
executive  feeling." 

Critique 


No.  32 
"SAPPHO" 


ALMA- 
TADEMA 


"As  for  the  'Sappho,' 

the  light  of  the 

summer  blue  sea, 

the  gold  of  the  poet's 

lyre  and  the  white 

of  the  sun-warmed 

marble  are  now  only 

memories  in  England, 

for  the  picture  has 

found  a  far-away 

home." 

The  Art  Journal 


artist  are  brought  into  full  play.  Sappho  was 
a  Greek  poetess  so  talented  and  beautiful  she 
was  called  "the  tenth  muse"  by  her  contempo- 
raries. Being  enamored  of  a  young  poet  named 
Alcaeus,  she  is  here  seen  in  his  presence,  ac- 
companied by  her  scholars.  The  scene  is  laid 
in  an  open  theater  of  semi-circular  form  built 
of  creamy  white  marble.  Sitting  in  a  graceful 
chair  is  Alcaeus,  playing  an  accompaniment 
to  his  poems  on  a  lyre  inlaid  with  an  exquisite 
design  in  mother-of-pearl  of  some  legend  or 
story.  The  character  of  his  face  is  strongly 
brought  out,  and  as  he  sits  touching  the  strings 
he  seems  to  forget  his  surroundings  and  be- 
come completely  absorbed  in  his  song.  He 
wears  a  robe  of  a  light  warm  pinkish  yellow 
which  sets  off  the  bronzed  flesh  of  his  face  and 
arms.  Opposite  him,  sitting  on  the  lowest  tier 
of  seats,  is  Sappho.  She  leans  forward  with 
her  chin  on  her  hands,  which  rest  on  the  top 
of  a  little  bronze  stand  in  front  of  her,  on  the 
lower  part  of  which  is  a  figure  of  Fame  in 
bronze.  She  is  listening  to  the  poet's  impas- 
sioned words  with  enraptured  attention.  The 
drawing  of  her  figure  is  purely  Greek  in  charac- 
ter and  is  a  charming  example  of  Tadema's  art. 
She  sits  in  an  unconscious,  abandoned  po- 
sition which  is  very  beautiful.  Her  face  clearly 
expresses  the  delight  she  derives  from  the 
songs  of  the  bard.  On  the  stand  in  front  of  her 
is  a  wreath  of  laurel.  Just  beyond  is  Sappho's 
sister.  She  is  wonderfully  lovely  in  face  and 
figure  as  she  stands  with  one  hand  resting  on 
Sappho's  shoulder  while  with  the  other  she 
holds  a  manuscript.  Her  hair,  hanging  loosely 
over  her  shoulders,  is  garlanded  with  flowers 
and  her  dress  is  of  a  pale  lavender  fabric  cov- 
ered with  a  rich  pattern.  Back  of  her,  on  a 
higher  seat,  are  three  of  Sappho's  scholars, 
150 


whose  beauty  is  only  equaled  by  the  pleasure 
expressed  on  their  faces.  The  two  sitting  be- 
hind Sappho  are  dressed  in  gray-green  and 
buff.  The  third  is  in  a  salmon-colored  dress. 
Her  head  is  beautiful  in  type  and  crowned 
with  reddish  bronze  hair.  She  sits  gazing 
across  the  sea  with  her  arm  resting  on  the 
back  of  the  seat.  She  is  the  picture  of  graceful, 
dreamy  beauty.  Beyond  the  theater,and  lining 
the  water's  edge,  olive  trees  picturesquely 
stretch  their  spreading  branches.  They  are  of 
the  tenderest  warm  olive  green,  the  rich  color 
of  their  trunks  coming  in  beautiful  harmony 
with  the  deep  blue  of  the  sea,  a  blue  that  only 
Tadema  can  paint.  No  finer  setting  for  these 
figures  could  be  found  than  this  wondrous  sea. 
The  theater  of  pinkish  creamy  white  and  the 
color  scheme  of  the  figures,  with  their  pale 
lavender,  pink,  buff,  green,  salmon,  yellow, 
are  like  a  cluster  of  tea-roses  in  a  vase  of  deep 
blue  green.  The  faultless  drawing,  the  color 
harmonies,  the  calm  blue  of  the  sky,  all  com- 
bine to  make  it  one  of  the  most  charming  pict- 
ures of  the  collection.  Refined,  beautiful  and 
poetic,  it  is  filled  with  the  artist's  best  inspi- 
ration. 

The  next  picture,  the  subject  of  which,  "The 
Triumph  of  Titus,"  was  suggested  by  Mr. 
Walters,  contains  all  those  qualities  of  skill  in 
drawing  and  color  found  in  the  other  two,  and 
added  to  them  is  a  certain  elaboration  of  de- 
tails that  in  its  way  is  unsurpassed.  On  a  little 
canvas,  upright  in  shape,  you  see  a  stairway 
composed  of  several  landings,  leading  down 
from  a  temple.  Titus  has  returned  from  Jeru- 
salem with  spoils  of  conquest  taken  from  the 
sacred  temple  which  have  been  distributed 
amid  religious  ceremonials  in  the  temple  of 
Jupiter  Victor  at  the  Palatine.  On  the  stairway 


ALMA- 
TADEMA 


"To  our  mind 
Mr.  Tadema  is  fortu- 
nate, inasmuch  as 
he  practices,  without 
any  sacrifice  of 
science,  a  kind  of 
excellence  which  is 
readily  intelligible;  for 
the  sympathy — 
even  the  unlearned 
sympathy — of  the 
many  is  a  cheering 
thing  which  few  great 
artists  would  be 
indifferent'  about 
possessing." 

The  Art  Journal 


No.  12 

'THE  TRIUMPH  OF 
TITUS" 


ALMA- 
TADEMA 


"It  may  be  said  ad- 
visedly that  no 
pictures  of  the  present 
day  exhibit  more 
thorough  excellence 
than  those  of 
Mr.  Alma-tadema, 
though  for  the  most 
part  Greek  and  Roman 
antiquity  are  the 
source  from  which 
the  inspiration  of  his 
art  is  derived. 
Mr.  Tadema's  pictures 
as  works  of  art  are 
never  sacrificed  to  the 
mere  pedantic 
display  of 

skill  and  learning." 
Prof.  John  Weir 


you  see  Titus  clad  in  gold  armor,  being  escort- 
ed in  triumph  from  the  temple.  He  is  led  by  his 
daughter,  who  holds  his  hand,  according  to  a 
custom  which  enacted  that  the  triumphator 
should  be  accompanied  by  his  youngest  child. 
Just  in  front  of  them  is  Domitian,  brother  and 
successor  to  Titus,  who  turns  as  if  engaged  in 
conversation  with  his  niece.  Preceding  this 
group  is  Vespasian,  the  father  of  Titus,  who, 
according  to  the  custom,  officiates  as  a  priest. 
He  wears  a  robe  of  white  and  bears  in  his 
hands  the  vessels  used  in  the  ceremonies. 
The  figures  of  this  group,  which  is  a  part  of 
the  great  shadow  that  covers  the  lower  half  of 
the  canvas,  are  modeled  and  rounded  out  per- 
fectly. The  drawing  and  the  character  in  the 
faces  are  a  triumph  of  skillful  art.  These  fig- 
ures and  the  deep  shadows  filled  with  som- 
ber purples,  blues  and*olives  are  low  in  tone, 
but  the  upper  landing  of  pale  pink  marble  is 
flooded  with  dazzling  light.  At  the  top  of  the 
stairway  are  rows  of  priests  robed  in  white  and 
bearing  aloft  bunches  of  yellow  palms.  In  the 
center  is  the  altar  on  which  are  the  many 
spoils  of  victory.  From  this  landing,  the  large 
massive  columns  of  the  temple  rise  majestic 
in  form,  while  between  them  the  deep,  beau- 
tiful blue  sky  is  seen.  At  the  lower  edge  of  the 
picture  are  several  heralds  preceding  Titus. 
Only  the  upper  part  of  their  figures  is  re- 
vealed. They  are  crowned  with  wreaths,  and 
bear  long  reed  poles  in  their  hands.  The  white 
robes,  the  flesh  tones,  the  yellow  palms,  the 
pink  stairway,  are  all  bathed  in  a  flood  of  brill- 
iant luminous  light,  accented  by  the  deep  shad- 
ows of  the  lower  part  of  the  canvas;  they  make 
a  mass  of  color  charming  beyond  description, 
and  from  the  standpoint  of  Tadema's  art  this 
is  as  wonderful  a  bit  of  painting  as  could  be 
152 


found.  While  painted  realistically,  it  is  yet  a 
poem  of  rare  beauty  and  is  beyond  question 
one  of  the  artist's  greatest  works. 

Another  canvas,  also  upright,  is  called,  "Sis- 
ter Is  Not  In."  In  the  center  is  a  door  draped 
with  tender  olive-colored  hangings.  In  front 
of  it  is  a  young  girl  of  great  beauty  of  face  and 
form.  As  she  stands  with  her  arms  extended 
she  holds  the  drapery  tightly  together,  thus 
closing  the  doorway.  Just  back  of  her  a  young 
man's  face  is  seen  through  an  opening  in  the 
curtain.  To  the  left  of  them  and  concealed  be- 
hind the  end  of  a  divan  the  sister  is  seen,  her 
face  beaming  with  mischievousness.  The  girl 
standing  in  front  of  the  doorway  is  beautifully 
proportioned,  and  her  costume  does  not  con- 
ceal the  graceful  lines  of  her  figure.  There  is 
a  refinement  about  the  picture  that  is  very  fas- 
cinating, and  although  less  important  in  sub- 
ject than  its  companions,  it  is  none  the  less 
beautiful. 

RITON  RIVIERE  fi^C 
Briton  Riviere  undoubt- 
edly is  one  of  the  strong- 
est of  English  painters. 
His  art  rises  above  the 
commonplace  into  the 
irealms  of  poetry.  He 
finds  his  greatest  inspi- 
ration among  the  ruins  of 
by-gone  ages,  which  he 
clothes  with  beautiful  sentiment.  "Syria — The 
Night  Watch"  possesses  great  dramatic  power 
and  beauty,  and  is  one  among  the  many  great 
pictures  of  the  collection.  There  are  but  few  of. 
the  better  class  of  English  pictures  in  America; 
many  think  that  all  English  art  has  been  re- 
duced to  the  literary  painter,  whose  only  aim 
and  end  is  to  tell  some  story.  This  canvas  will 

153 


ALMA- 
TADEMA 

No.  14 

"MY  SISTER  IS 
NOT  IN" 


No.  19 

•SYRIA— THE  NIGHT 
WATCH" 


RIVIERE 


"The  artist's  potent 

individuality  reveals 

itself  in  the  dramatic 

elements 

of  the  design." 

F.  G.  Stevens  in 

The  Portfolio 


be  a  revelation  to  such  persons;  it  'will  deliver 
a  message  of  far  greater  import;  it  is  like  a 
vision,  a  dream  of  mystic  beauty  that  will  al- 
ways linger  with  you.  Rising  in  bold  relief 
against  the  sky  are  seen  the  ruins  of  some  an- 
cient temples,  telling  their  silent  story  of  the 
genius  of  the  artists  of  the  past.  They  have 
outlived  those  who  created  them,  and  stand 
like  monuments  over  the  desolation  and  decay 
that  speak  of  ancient  grandeur.  Man  with  his 
varied  experience  has  departed.  This  was  the 
arena  wherein  love,  sorrow,  hope  and  despair 
mingled  and  men  worked  out  their  destiny. 
Now  desolation  reigns  supreme.  The  won- 
drous civilization  of  this  once  famous  city  has 
become  the  abode  of  wild  animals.  Bathed  in 
a  glory  of  mellow,  moonlit  atmosphere,  these 
great  piles  of  stone  stand  like  ghosts  of  former 
ages.  The  power  with  which  the  desolate 
stillness  is  painted  is  wonderful.  You  feel  the 
influence  stealing  in  on  you.  Something  has 
disturbed  this  great  silence.  Three  ponderous 
lions  advance  stealthily  and  cautiously  toward 
you,  contemplating  the  condition  about  them. 
Their  step  is  as  light  as  that  of  a  cat.  They  come 
from  around  a  bit  of  the  ruins  that  throws  deep, 
long  shadows  across  the  front  of  the  picture. 
One  of  them,  as  if  hearing  the  scream  of  some 
wild  bird  as  it  flies  overhead,  crouches  slightly 
and  glares  upward.  The  lion  in  advance  turns 
his  head  to  one  side  and  the  light,  striking  his 
eyes,  makes  them  gleam  like  coals  of  fire.  The 
picture  is  marvelous  in  its  beauty.  The  warm 
silvery  moonlight  veils  everything  in  a  myste- 
rious, dream-like  atmosphere.  The  drawing  of 
the  lions  is  fine,  and  the  color  is  handled  with 
power  and  great  feeling. 


154 


EORGE  H.  BOUGH- 
TON  C^C  One  of  the  most 
popular  of  our  artists,  and 
one  whose  works  are  ex- 
tensively reproduced,  is 
George  H.  Boughton. 
The  chief  characteristics 
of  his  art  are  the  elegance 
and  the  refinement  of  his 
composition,  and  the  pur- 
ity of  histypes.  His  early  life  was  givento  paint- 
ing the  peasants  of  Brittany,  in  which  he  was 
unusually  successful.  John  Ruskin  compared 
some  of  his  simple  bits  of  child  life  of  this  period 
to  the  work  of  Frere.  Afterwards  he  took  his 
subjects  largely  from  life  as  it  existed  among 
the  Puritans  of  our  early  history,painting  them 
with  marked  distinction,  but  of  later  years  he 
has  devoted  himselfto delineating themoreele- 
gant  life  of  England.  Boughton  is  immensely 
popular  among  the  literary  people  of  London; 
his  art  appealing  to  their  sympathies  by  its 
story-telling  qualities. 

"The  Waning  Honeymoon"  is  a  canvas  of 
this  late  manner.  On  a  stone  seat  under  some 
beautiful  shade  trees  sit  a  man  and  wife.  He 
is  at  the  right  with  his  back  against  the  tree, 
sitting  stiff  and  unconcerned  and  pretending 
to  read,  while  with  one  hand  he  pats  the  family 
dog,  who  seems  to  offer  his  sympathy.  Behind 
him,  on  the  opposite  side  of  the  tree,  sits  the 
wife,  her  face  glowing  with  color.  She  is  trying 
hard  to  be  dignified.  Her  sympathetic  heart 
goes  out  to  him,  but  she  will  not  show  truce. 
She  holds  a  cluster  of  autumn  roses  which  she 
would  like  to  give  him,  but  he  must  speak  the 
first  kind  word.  Leading  away  from  her  is  a 
well-worn  pathway  that  passes  through  a  land- 
scape full  of  flitting  shadows,  like  the  expres- 

155 


No.  42 

"THE  WANING 
HONEYMOON" 


"What  Boughton 
does  best  in  figure 
painting  is  women  and 
children,  his  types 
being  never  without 
grace  of  figure 
and  gesture,  and 
having  often  for  senti- 
ment something  of 
that  reserved 
gentleness  which 
belongs  to  lives  that 
have  to  be  passed 
less  in  pleasure  than 
in  patience." 

Sidney  Colvin 


No.  73 

"VENUS 

AND  NEPTUNE' 


BOUGHTON  si°n  of  ner  young  face,  while  on  the  opposite 
side  of  the  tree,  and  passing  in  front  of  her 
husband,  is  a  pathway  leading  in  another 
direction.  These  two  roads  might  lead  them 
widely  apart.  Spring  has  passed,  the  sum- 
mer ended  and  chill  winter  is  approaching. 
With  it  has  come  the  waning  of  the  honey- 
moon. It  is  a  bit  of  sentiment,  yet  true  to  life; 
one  of  those  cloud-shadows  that  gives  place  to 
brighter  sunlight. 

"Venus  and  Neptune"  represents  a  bit  of 
coquetry  between  an  old  tar  and  a  pretty  fisher- 
maiden.  The  man  is  large  and  wears  the  light 
blue  suit  common  among  the  Holland  fisher- 
men, while  the  lass  has  on  a  white  dress  with 
dainty  figures  in  it.  The  picture  is  strong,  be- 
ing very  solidly  painted  and  with  the  figures 
well  modeled. 

OHN  EVERETT  MIL- 
LAIS  ^Q£  Millais  is  a  dis- 
tinguished painter  of  the 
English  school  whose 
pictures  are  refined  and 
•beautiful  in  sentiment. 
|He  was  one  of  the  first  to 
[join  the  "Pre-Raphael- 
'  ite"movement  in  English 
>art.  During  this  period  he 
won  great  distinction  by  his  ideal  composi- 
tions representing  life  among  the  Huguenots. 
In  later  years  he  abandoned  the  movement 
and  now  paints  in  an  entirely  different  man- 
ner. His  pictures  are  always  popular  and  are 
extensively  reproduced.  The  single  represen- 
tation of  this  painter  in  the  collection,  "News 
from  Home,"  is  very  different  from  his  usual 
subjects  and  is  quite  pretty  in  sentiment.  The 
chief  actor  is  a  British  soldier  in  full  uniform 
of  red.  He  is  evidently  on  guard  duty,  and  has 

156 


No.  94 

'NEWS  FROM 
HOME" 


just  received  a  letter.  He  stands  leaning  on  MILLAIS 
his  gun  while  reading  it.  The  painting  of  the 
uniform  and  trappings  is  excellent.  The  face 
is  interesting  and  refined  in  type,  and  his  ex- 
pression shows  his  deep  interest  in  the  con- 
tents of  his  letter.  The  figure  is  broadly  lighted 
and  the  color  is  glowing  and  harmonious,  the 
reds  being  exceptionally  good.  Strong  in  draw- 
ing and  solidly  painted,  it  stands  well  among 
the  great  canvases  by  which  it  is  surrounded. 


No.  158 
"THE  MILK  MAID" 


"The  simple  genre 
which  Chardin  intro- 
duced became,  a 
little  later,  a  more 
sentimental  genre  in 
the  treatment  of 
Jean  Baptiste  Greuze, 
of  whose  works 
sentiment  is  the 
key-note." 
Stranahan 


ORKS  IN  OIL— MIS- 


JEAN  BAPTISTS 
f  GREUZE  <^£  The  works 
lof  Greuze  possess  a  grace 
(that  was  peculiarly  his 
;own,  and  have  steadily 
'  grown  in  favor.  He  was  a 
Ipoet  like  Chaucer  or  Her- 
Irick,*  particularly  sensi- 
tive to  the  quaint  and  dainty  sentiment  found 
in  women  and  children.  In  painting  the  latter 
he  was  particularly  successful  and  his  child 
heads  are  highly  prized.  "The  Milk  Maid,"  the 
one  example  of  his  skill  to  be  seen  here,  is  very 
tender  in  sentiment  and  color.  It  is  like  the 
quaint  visions  of  those  old  English  poets  whose 
verses  are  the  perfection  of  sentiment.  She  is 
a  dainty  little  tea-rose  of  a  maiden,  with  big 
violet  eyes  whose  depths  seems  those  of  heav- 
en, lips  full  of  rich  sweetness  like  the  choicest 
wild  berries  and  cheeks  of  creamy  white  with 
blushes  like  the  hues  of  old-fashioned  carna- 
tions. Tender  half  shadows  play  here  and 
there  on  her  face,  their  quality  as  light  and 
transparent  as  the  dew-drop.  Her  hair  is  like 
the  sheen  of  the  spider  web  when  it  is  touched 
by  the  first  ray  of  the  morning  sun,  and  seems 
to  shimmer  in  a  play  of  golden  light.  It  is  a 
song  of  rustic  gladness  transposed  into  living 
colors,  a  poem  from  a  by-gone  day  of  youth 
158 


just  budding  into  consciousness.  Every  touch, 
every  stroke  of  the  brush  seems  charged  with 
the  vital  elements  and  grace  of  youth.  It  is  like 
the  sweet-brier  in  its  wild,  unconfined  beauty, 
and  filled  with  the  very  essence  of  artless, 
graceful  rusticity. 
BARTHOLOMEUSVAN  DER  HELST 

This  portrait,  "Anna  Maria  Schumann," 
although  painted  some  three  centuries  ago,  is 
as  clear  and  fresh  as  if  finished  but  yesterday. 
The  subject  was  a  lady  noted  for  her  mental 
attainments,  which  are  clearly  indicated  in 
the  picture.  The  head  shows  all  the  careful- 
ness of  the  old  Dutch  artists,  who  were  thor- 
oughly sincere  in  everything  they  painted. 
This  picture  has  the  distinction  of  being  the 
only  old  master  of  the  collection.  Surrounded 
as  it  is  by  the  best  work  of  the  most  celebrated 
artists  of  modern  times,  it  recalls  the  fact  that 
far  back  in  the  past  men  understood  the  art  of 
painting  and  worked  according  to  methods 
that  guaranteed  preservation  of  their  efforts 
for  the  benefit  of  the  world  for  centuries  to 
come,  a  thing  that  many  great  artists  have 
failed  to  consider,  and  which  some  of  our  dis- 
tinguished living  painters  still  fail  to  heed. 
ADOLPHE  YVON 

Yvon,  a  pupil  of  Delaroche,  and  painter  of 
many  distinguished  pictures,  was  an  officer  of 
the  Legion  of  Honor  and  the  recipient  of  many 
other  rewards.  This  portrait  head  of  Napoleon 
III  was  painted  from  life  by  Yvon  as  a  study 
for  his  celebrated  picture  of  the  battle  of  Sol- 
ferino.  It  is  strong,  carefully  painted,  displays 
a  very  fine  appreciation  of  character,  and  has. 
the  stamp  of  real  dignity  about  it.  His  coat  is 
profusely  decorated  with  souvenirs  of  honor. 
The  color  is  quiet  and  rather  gray.  It  is  a 
modern  historical  portrait  of  great  interest. 

159 


"WORKS 
IN  OIL 


No.  72 

"ANNA  MARIA 
SCHUMANN" 


No.  131 

"PORTRAIT  OF 
NAPOLEON  III" 


WORKS 
IN  OIL 

No.  20 
'DAMASCUS" 


No.  140 
"DEVOTION" 

"Chaplin  is  a  man  of 

light  and  pleasing 

talents.    The 

eighteenth  century 

has  bequeathed  to 

him  in  part  the  secret 

of  its  easy  and 

voluptuous  grace." 

Ernest  Duvergier 

de  Hauranne 


ALBERTO  PASINI 

The  picture  which  stands  for  Pasini  among 
the  famous  canvases  here  has  a  peculiar  charm 
of  its  own,  and  is  full  of  airiness.  The  author 
of  it  was  an  honorary  professor  of  the  acade- 
mies of  Parma  and  Turin  and  distinguished 
for  his  little  pictures  of  Eastern  subjects,  in 
which  buildings  and  small  figures  are  painted 
with  great  beauty.  The  little  canvas,  "Damas- 
cus," reveals  a  charming  bit  of  architecture, 
a  building  constructed  of  stucco.  Its  quaint 
windows,  strange  green  lattice-work,  blue- 
gray,  pink  and  plum-gray  tiles,  and  dull  .red 
roof  give  a  beautiful  effect  of  color,  which  is 
heightened  by  windows  of  colored  glass  and 
a  wrought  iron  railing.  In  the  small  square  or 
court  that  composes  the  foreground  is  a  large 
circular  pool  of  water  from  which  some  horses 
are  drinking.  Back  of  this  is  another  group  of 
horses;  their  owners,  standing  near,  are  en- 
gaged in  conversation  and  their  forms  and 
those  of  the  horses  are  reflected  in  the  pool. 
These  figures  and  horses,  although  small,  are 
extremely  well  drawn  and  painted.  The  rich 
colors  of  the  animals  and  of  the  costumes  of 
the  men  are  charming.  It  is  a  clear,  bright, 
little  gem,  beautiful  and  refined  in  painting. 
The  horses  and  dainty  figures  are  almost  like 
those  of  Fromentin. 
CHARLES  CHAPLIN 

A  painter  of  gracefulness,  Charles  Chaplin, 
whom  many  have  likened  to  Watteau,  is  rep- 
resented by  a  charming  little  picture,  full  of 
religious  feeling.  In  "Devotion"  two  little  chil- 
dren kneel  at  a  wayside  shrine.  Pure  and  in- 
nocent, they  lift  their  hearts  in  prayer.  In  front 
of  them  is  a  basket  of  wild  flowers  freshly  gath- 
ered in  the  fields,  and  near  them  lies  a  shep- 
herd's crook.  The  sentiment  of  the  picture  is 
1 60 


very  beautiful  and  almost  like  a  Frere  in  its 
appreciation  of  childhood. 
ANTOINE  EMILE  PLASSAN 

Plassan  is  represented  by  four  small  bits  of 
life.  "Devotion"  is  a  picture  of  a  young  girl, 
partly  disrobed,  contemplating  an  image  of 
some  saint  or  guardian  angel.  It  possesses 
much  beauty.  In  "Prayer"  a  young  girl  kneels 
beside  her  bed.  Her  bared  shoulders  and  the 
light  falling  on  them  are  beautifully  painted. 
The  picture  is  exquisite  in  finish  and  senti- 
ment. "Disappointment"  and  "The  Model" 
display  the  same  carefulness  of  finish  as  the 
others.  The  last  one  is  a  delightful  study  of  a 
young  model  who  has  fallen  asleep.  The  paint- 
ing of  the  flesh  is  glowing  and  tender  in  color. 
SIMON  SAINT-JEAN 

There  are  two  small  still-life  pictures  by  this 
artist,  who  was  noted  for  finish  and  the  rich 
beauty  of  his  color.  One  is  a  fine  study  of  or- 
anges, grapes  and  raspberries,  painted  with 
great  skill.  The  fruit  is  almost  as  juicy  and 
tempting  as  the  real,  the  peeled  orange  being 
unusually  well  done.  They  are  painted  in  open 
air  and  grape  leaves  lie  about  them.  The  other 
is  an  arrangement  of  roses,  daisies  and  nas- 
turtiums, showing  the  same  realism  and  del- 
icacy of  finish.  They  look  as  though  just  culled. 
EDOUARD  DETAILLE 

One  of  the  strongest  of  living  military  paint- 
ers, Edouard  Detaille,  who,  like  De  Neuville, 
was  a  soldier  during  the  Franco-Prussian  war, 
has  here  a  fine  picture  of  a  mounted  picket 
guard  in  full  uniform,  painted  with  the  skill 
which  has  made  his  work  famous.  Erect  and 
soldierly  in  bearing  is  this  French  trooper, 
planted  so  firmly  in  his  saddle.  His  uniform 
and  accoutrements  are  painted  with  great 
elaboration  of  detail  and  his  uniform  is  filled 

161 


WORKS 
IN  OIL 

No.  83 
"DEVOTION1 


No.  77 
'PRAYER' 


No.  66 

"DISAPPOINT- 
MENT" 

No.  99 
'THE  MODEL" 


No.  76 
'STILL  LIFE' 


No.  21 
'THE  PICKET' 


WORKS 
IN  OIL 


No.  17 

"TOREADORS 

BEFORE  ENTERING 

THE  ARENA" 


"Vibert's  pictures  are 

remarkable  for 

delicacy  of  touch 

and  nice  feeling  for 

color.     He,  as  all 

the  other  Parisian 

artists,  studies  nature 

constantly." 

Miss  Brewster 


with  a  solidly  painted  figure.  The  charger  is 
executed  with  almost  the  finish  of  a  Meisson- 
ier,  and  shows  a  thorough  study  of  the  anatomy 
and  bone  structure  of  the  horse.  The  land- 
scape is  lighted  by  a  warm  evening  glow 
which  gives  a  ruddy  cast  to  the  coloring.  It  is 
a  fine  example  of  one  of  a  remarkable  group 
of  painters,  now  passing  away,  whose  works 
will  stand  as  a  living  record  of  the  history  of 
the  present  time. 
JEHAN  GEORGES  VIBERT 

This  painter  is  a  Parisian,  pure  and  simple, 
a  man  of  great  original  talent  and  brilliancy 
in  the  handling  of  color.  The  picture  described 
below  is  a  delightful  example  of  his  skill  and 
differs  from  his  usual  subjects,  having  much 
about  it  that  suggests  Madrazo.  The  subject 
is  completely  Spanish,  being  "Toreadors  Be- 
fore Entering  the  Arena."  A  number  of  tor- 
eadors are  at  prayer  prior  to  a  bull  fight.  It  is 
a  strange  exhibition  of  man's  selfish  nature; 
this  effort  to  get  himself  into  a  high  spiritual 
condition  just  before  entering  upon  the  torture 
of  wild  beasts.  Kneeling  upon  a  carpet  in  front 
of  an  altar,  on  which  are  a  crucifix,  tapers  and 
other  sacred  objects,  are  several  actors  who 
are  to  try  their  skill  with  ferocious  and  mad- 
dened bulls.  They  are  gayly  attired  and  be- 
spangled, and  form  a  brilliant  galaxy  of  showy 
splendor.  Back  of  the  kneeling  figures  stand 
two  handsome  toreadors,  who  are  engaged 
in  conversation  and  appear  unconcerned  in 
what  is  transpiring.  They  are  picturesquely 
dressed  and  hold  sombreros  in  their  hands.  A 
senorita  is  seen  leaning  over  the  railing  of  the 
altar  gossiping  with  people  on  the  outside. 
The  picture  is  full  of  vital  character  and  draw- 
ing and  reveals  in  its  finish  the  thoroughness 
of  Vibert's  method. 
162 


GEORGE  CLAIRIN 

There  is  a  splendidly  painted  picture  here 
by  Clairin.  In  it  skillful  painting  and  charm- 
ing color  vie  with  each  other  for  supremacy. 
It  is  a  subject  chosen  because  of  its  fitness  for 
the  display  of  his  powers.  "Entering  the  Ha- 
rem" is  a  canvas  of  peculiar  beauty,  both  from 
the  decorative  and  realistic  points  of  view.  In 
fact,  it  is  like  many  of  the  pictures  of  the  day, 
as  the  subject  is  but  a  pretense  for  the  display 
of  technical  skill.  In  this  respect  it  is  certainly 
a  remarkable  canvas.  In  the  center  of  the  com- 
position is  an  Oriental  of  distinction,  about 
to  enter  his  harem.  He  is  tall,  dignified  and 
splendidly  formed,  and  wears  a  robe  of  filmy 
cream  white  silk  as  light  as  gossamer,in  whose 
shadows  yellow  and  pearl  tints  play.  This  robe 
falls  from  the  top  of  his  head  to  the  ground. 
Underneath  is  a  garment  of  warm  pink  that  is 
charming  in  tone,  and  in  the  midst  of  this  mass 
of  delicate  texture  his  face  is  seen,  a  strange, 
ashen  gray  color,  but  of  a  fine  Eastern  type. 
He  stands  on  a  magnificent  rug  of  red,  velvety 
in  texture,  and  just  back  of  him  is  a  Nubian  in 
dark  and  somber  garb,  evidently  a  body-serv- 
ant. He  holds  a  drawn  sword  in  his  hand.  Be- 
yond is  a  tapestry  of  beautiful  design.  Standing 
farther  back  is  a  servant  who  is  drawing  aside 
some  rich  curtains  from  a  door  through  which 
you  get  a  glimpse  of  the  luxuriousness  of  the 
interior  of  the  harem.  Through  an  archway 
of  highly  polished  stone  inlaid  with  creamy 
yellow  and  pale  blue  can  be  seen  walls  sump- 
tuous with  pale  and  dainty  color  in  which  sal- 
mon, light  buff,  dull  red  and  turquoise  blue  are 
woven  into  intricate  designs.  Sitting  about  the 
floor  are  the  inmates.  In  one  corner  of  the 
picture  are  some  bits  of  still  life,  exquisitely 
painted,  but  thrown  in  simply  for  effect.  Here 

163 


WORKS 
IN  OIL 

No.  144 

"ENTERING  THE 
HAREM" 


WORKS 
IN  OIL 


No.  35 

"THEJUNGFRAU, 
SWITZERLAND 


No.  115 
'A  PORTRAIT" 


No.  23 

"MOONLIGHT   IN 
HOLLAND" 

"The  water  has  found 

in  Clays  a  marvel- 

ously  exact  painter;  he 

gives  it  movement, 

limpidity,  life,  and 

with  happy  talent  he 

knows  the  spots 

where  the  sun's  rays 

cross  it  to 

fill  it  with  light." 

Critique 


orange,lemon,red,green  and  black  are  massed, 
giving  a  strong  contrast  to  the  more  delicate 
color  of  the  other  parts. 
ALEXANDRE  CALAME 

Calame  painted  the  sublime  poetry  of  the 
mountains  of  Switzerland,  his  native  country, 
with  great  power  and  rugged  truth.  He  shows 
a  supreme  effort  in  "The  Jungfrau,"  which  is 
a  remarkable  rendering  of  the  wildness  of  the 
Alps.  The  great  mountains  rise  in  grandeur, 
their  tops  piercing  the  heavens.  Cloud  shad- 
ows cast  a  shroud-like  gloom  here  and  there, 
while  the  white  crowns  of  never-melting  snow 
that  have  laid  there  perhaps  for  thousands  of 
years  loom  up  with  ghostly  effect.  Great  shafts 
of  sunlight  tear  through  the  solemn  grandeur 
of  the  distance.  Rocky  hills,  dashing  streams, 
and  misty  waterfalls  make  up  one  of  those 
sublime  symphonies  of  nature  that  no  man  has 
painted  with  more  feeling  and  truth  than  Ca- 
lame. 
CHARLES  L.  MULLER 

This  painter  is  represented  by  a  strongly 
painted,  somber-toned  portrait  of  a  lady  with 
finely  modeled  features.  There  is  something 
out  of  the  ordinary  about  the  canvas.  It  seems 
an  echo  of  the  past;  it  might  have  been  execut- 
ed by  one  of  the  old  Italians.  The  color  is  rich 
and  strong  and  very  beautiful  in  tone. 
PIERRE  JEAN  CLAYS 

"Moonlight  in  Holland"  is  by  Pierre  Jean 
Clays,  who,  although  a  Belgian,  paints  pict- 
ures distinctly  Dutch  in  style.  The  sky  in  this 
one  is  bright  and  silvery,  showing  the  moon 
high  in  the  upper  sky.  The  atmosphere  is  fine; 
the  distance,  full  of  mystery,  forms  a  back- 
ground for  some  boats  whose  sails  are  full  of 
rich  brown  gray  coloring.  The  picture  is  full 
of  fine  qualities  and  shows  the  thorough  habit 
164 


of  Dutch  and  Belgian  artists  of  studying  the 

phenomena  of  atmosphere  peculiar  to  their 

climate. 

VICTOR  CHAVET 

"The  Amateur"  is  a  little  picture  of  marked 
interest  because  of  its  refinement  and  finish. 
A  gentleman  of  distinguished  appearance  and 
a  faultless  wig  is  leaning  over  a  table  writing 
something  in  which  he  is  greatly  interested. 
The  table  is  covered  with  a  fabric  of  Oriental 
design.  The  gracefulness  of  his  form  is  en- 
hanced by  a  long  gray  coat,  red  breeches,  and 
w.iite  hose.  Behind  him  stands  a  boy  who 
holds  a  small  portfolio  of  prints;  and  farther 
ba^k  are  some  pictures  leaning  against  the 
wall.  The  little  canvas  is  modest  and  unas- 
suming, but  painted  with  exquisite  skill. 
ANTOINE  ROTTA 

A  fine  specimen  of  modern  art  is  "A  Hope- 
less Case"  by  Rotta,  who  is  distinguished 
among  contemporary  Italian  genre  painters. 
A  young  girl  has  brought  a  dilapidated  old 
shoe  to  the  village  cobbler,  who  doubts  the 
possibility  of  mending  it.  The  expression  of 
his  face  tells  the  girl  of  the  hopelessness  of  the 
case,  which  causes  her  to  hang  her  head  in 
despair,  while  she  toys  with  her  dress.  The 
old  cobbler  is  a  fine  character,  and  every  part 
of  the  picture  is  realistic  to  a  high  degree. 
The  coloring  is  strong,  rich  and  deep,  a  char- 
acteristic of  the  modern  Italian  school. 
ALFRED  STEVENS 

Stevens,  who  was  distinguished  for  his  sin- 
gle female  figures  dressed  in  elegant  cos- 
tumes, has  two  quiet  and  characteristic  pict- 
ures, "Palm  Sunday"  and  "News  from  Afar." 
Both  canvases  display  Stevens'  mastery  of 
modern  types.  The  latter  represents  a  woman 
who  has  just  received  a  message  of  sad  import. 

165 


WORKS 
IN  OIL 


No.  64 
'THE  AMATEUR" 


No.  22 

•THE   HOPELESS 
CASE" 


No.  87 
"PALM  SUNDAY' 


No.  132 
•NEWS  FROM  AFAR' 


WORKS 
IN  OIL 


No.  71 
"THE  DISPUTE' 


No.  92 
"THE  NYMPH" 


No.  89 

•THE  HEALTH  OF 
THE  KING" 


No.  6 

"CONSULTING 
LAWYER" 


HIS 


"Vautier  never  expects 
us  to  be  satisfied 
with  the  costumes 
in  place  of  the 
characters  of  the 
people  he  represents; 
on  the  contrary,  his 
figures,  in  their  faces 
and  in  every  line  of 
detail,  express  their  in- 
dividualities 
with  marked  force." 
Critique 


She  has  laid  the  letter  on  the  table  and  stands 
with  one  hand  pressed  to  her  heart.  Her  face 
is  beautiful  and  her  expression  betrays  the 
pent-up  emotion  which  fills  her  soul.  She  is 
dressed  in  a  gown  of  fawn-colored  satin  that 
is  painted  with  much  skill.  The  table  is  cov- 
ered with  a  green  cloth  and  on  it  is  a  vase  in 
which  is  a  spray  of  flowers. 
E.  KURTZBAUER 

"The  Dispute"  represents  four  men  playing 
cards.  They  are  arguing  about  some  point  jft 
the  game.  The  character  of  the  men  is  fine  in 
its  realism,  a  feature  of  the  old  Munich  school. 
JEAN  JACQUES  HENNER 

A  dainty  little  nude  figure,"The  Nymph,"  is 
by  Henner,  a  famous  master  of  breadth,  who 
paints  delicate  flesh  and  broad  effects  of  light 
that  are  lost  into  dark  shadowy  backgrounds 
with  Correggio-like  effect.  This  little  picture 
is  exceedingly  charming;  its  luminous  paint- 
ing of  flesh  fairly  shines. 
FLORENT  WILLEMS 

A  painting  by  Willems  shows  several  cour- 
tiers rising  from  around  a  table  and  clinking 
their  glasses  high  above  their  heads  with  a 
"Health  to  the  King."  It  is  bright  in  color  and 
elaborate  in  finish,  a  good  example  of  modern 
Flemish  art. 
BENJAMIN  VAUTIER 

Vautier's  "Consulting  the  Lawyer"  is  one 
of  the  many  fine  bits  of  character  painting  in 
the  collection  and  is  devoid  of  much  of  the 
superficial  still-life  that  often  mars  pictures  of 
this  class.  A  hale  and  typical  disciple  of  Black- 
stone,  of  fine  face  and  bearing,  is  busily  en- 
gaged in  examining  some  papers.  He  holds  a 
quill  pen  in  his  mouth  while  reaching  for  a  doc- 
ument. He  wears  a  coat  of  brown-red  plush, 
and  a  ruffled  shirt  bosom  and  is  altogether  a 
166 


real,  old-school  gentleman.  His  client  is  a  fine 
old  man,  too,  with  a  nervous,  smoothly  shaven 
face.  He  is  explaining  some  difficult  points  to 
the  lawyer.  The  room  is  plain  but  full  of  rich 
and  deep  coloring;  the  background  of  shelves 
laden  with  books  is  especially  interesting. 
JOHANN  WILHELM  PREYER 

This  "Still  Life"  by  Preyer,  is  an  arrange- 
ment of  oysters,  a  bit  of  lemon,  some  nuts  and 
a  slender  glass  partly  filled  with  wine,  painted 
with  the  close  realism  that  was  characteristic 
of  the  Dusseldorf  School.  It  is  equal  in  this 
respect  to  the  works  of  the  old  Dutchmen  who 
painted  similar  subjects. 
MIHALY  MUNKACSY 

During  the  early  part  of  Munkacsy's  career 
he  painted  a  series  of  remarkable  pictures,  in- 
spired by  incidents  of  life  in  his  native  country, 
for  which  he  was  eminently  fitted  and  which 
he  rendered  with  distinguished  power.  The 
struggles  through  which  he  was  passing  at 
this  period  seemed  to  fit  him  for  rendering 
scenes  of  unusual  pathos.  In  after  years  when 
fame  and  fortune  came  to  him  the  seriousness 
that  marked  his  early  life  was  lost  in  the  af- 
fectations of  a  gilded  notoriety.  The  one  pict- 
ure by  him  which  is  hanging  on  the  walls 
among  this  great  company  is  one  of  the  best 
of  his  early  works.  It  is  called  "The  Story  of 
the  Battle."  In  a  room  with  arched  ceilings 
and  beautifully  broken  walls  are  several  per- 
sons around  a  table  listening  to  a  youth  who 
is  giving  an  account  of  a  battle.  His  face  is 
pale  and  shows  that  he  has  been  through  great 
suffering;  one  hand  rests  on  a  crutch  while 
with  the  other  he  emphasizes  his  story  with 
gestures.  Sitting  in  front  of  him  is  an  old  gen- 
tleman, probably  his  father,  and  behind  him 
is  a  youth,  in  an  attitude  of  close  attention, 

167 


WORKS 
IN  OIL 


No.  10 
'STILL  LIFE" 


No.  106 

"THE  STORY 
OF  THE  BATTLE' 


WORKS 
IN  OIL 


No.  24 

"PORTRAIT 
OF  WASHINGTON' 


No.  104 
'THE  CATSKILLS' 


seems  to  be  trying  to  mentally  grasp  the 
incident  related.  On  the  farther  side  of  the 
table  sit  two  men  who  thoughtfully  listen  to 
the  recital.  Near  them  stands  a  girl.  A  mug 
and  glasses  on  the  table  speak  of  good  cheer. 
The  costumes  are  picturesque  and  effectively 
arranged,  as  is  everything  that  enters  Mun- 
kacsy's  pictures.  The  types  effaces  are  studied 
with  realistic  truth  to  nature  and  the  color, 
though  strong,  is  yet  sober  and  very  effective. 
GILBERT  STUART 

Stuart  was,  perhaps,  the  greatest  portrait 
painter  our  country  has  produced,  and  one 
among  the  foremost  of  his  time.  He  is  repre- 
sented by  his  famous  portrait  of  Washington, 
a  performance  of  great  value  and  merit.  As 
a  painter,  Stuart  was  deservedly  noted  for  his 
flesh  coloring.  His  style  was  elevated  and 
pure.  The  head  of  Washington  is  masterly  in 
drawing  and  painting,  the  flesh  being  remark- 
able. The  glowing  rich  carnations  in  it  are 
mingled  with  silvery  gray  half  tints  in  a  man- 
ner which  is  very  fine.  He  used  color  in  his 
pictures  with  a  mottled  touch  peculiarly  his 
own.  There  is  an  air  of  dignity  about  the  head 
that  befits  the  subject;  it  is  one  of  the  treasures 
of  our  early  art  in  a  field  that  was  prolific  of 
skillful  men. 
ASHER  B.  DURAND 

In  a  large  canvas,  "The  Catskills,"  dated 
1859,  by  the  venerable  Asher  B.  Durand,  the 
rendering  of  detail  is  a  prominent  feature.  It 
is  in  many  respects  a  fine  picture  and  one  can 
not  get  away  from  the  fact  that  in  it  are  qual- 
ities that  are  wofully  absent  from  much  of  our 
present  landscape  art.  While  it  may  not  hold 
together  as  a  whole,  and  you  find  yourself 
picking  out  parts,  yet  there  is  a  sincerity,  a  de- 
votion to  nature  that  is  refreshing.  Durand 
168 


was  a  refined,  beautiful  type  of  the  early  Amer- 
ican painter. 
CHARLES  LORING  ELLIOTT 

A  portrait  of  the  painter  Durand,  from  the 
brush  of  Charles  Loring  Elliott,  shows  a  man 
of  refined  feeling  who  looks  as  though  he  might 
have  belonged  in  the  same  sphere  as  Whittier 
and  Longfellow.  The  picture  is  remarkably 
good  in  execution,  and  shows  Elliott  to  have 
been  one  of  the  best  portraitists  of  our  country 
and  among  the  best  of  his  time.  His  brush- 
work  was  skillful,  his  color  robust,  and  he  pos- 
sessed an  appreciation  of  character  that  is  in 
bold  relief  against  some  of  our  modern  por- 
trait artists  who  have  reduced  the  art  to  the 
province  of  still-life. 

The  "Portrait  of  the  Artist,  by  Himself,"  is 
a  strong  piece  of  painting,  showing  Elliott 
with  a  broad  brimmed  hat  and  a  great  cloak 
which  gives  him  a  picturesque,  unconven- 
tional air.  His  rich  dark  healthy  complexion, 
piercing  brown  eyes  and  long  black  hair  mark 
him  as  a  distinct  character  of  his  day.  Elliott 
was  indeed  an  honor  to  our  early  art.  He  was 
thoroughly  sincere  in  all  he  painted. 
WILLIAM  O.  STONE 

A  splendid  portrait  of  Mr.  W.  W.  Corcoran, 
whose  munificent  gift  placed  one  of  the  grand- 
est art  institutions  of  our  country  in  the  Cap- 
ital City,  occupies  a  place  on  these  walls.  The 
refined  face  reveals  a  beautiful  spirit  which 
seems  to  illumine  the  canvas.  The  tender, 
mild,  yet  earnest  expression  of  the  eyes,  and 
the  silken  white  hair,  are  rendered  with  beauty 
and  feeling. 
GEORGE  A.  BAKER 

In  the"Portrait  of  George  A.Baker,"  painted 
by  himself,  we  see  that  Baker's  art  was  not 
so  vigorous  as  Elliott's,  yet  it  is  strong  and 

169 


WORKS 
IN  OIL 

No.  114 

"PORTRAIT  OF 
A.  B.  DURAND,  N.  A. 


No.  130 

"THE  ARTIST, 
BY  HIMSELF" 


No.  146 

"PORTRAIT  OF 
W.  W.  CORCORAN" 


No.  J47 
•PORTRAIT  OF  THE 

ARTIST, 
BY  HIMSELF" 


WORKS   refined,  and  holds  its  own,  even  hanging  as  it 
IN  OIL    does  in  close  proximity  to  some  of  Bonnat's 

greatest  "works. 

NO.  129  His  "Portrait  of  a  Lady"  is  a  picture  of  the 

••A  PORTRAIT"  artist's  daughter.  It  shows  us  a  face  beaming 
with  life.  It  is  painted  delicately  and  with  an 
appreciation  of  feminine  grace  that  is  delight- 
ful. Baker  was  a  sincere  and  earnest  man  and 
his  nature  is  reflected  in  his  work. 


XI 


HE  WATER-COLOR 
GALLERY  **£  East  of 
the  Oriental  room  is  a 
small  gallery  dedicated 
to  drawings  and  water- 
colors.  It  is  quiet  and 
harmonious  in  decora- 
tion and  arrangement, 
and  although  small,with- 
in  its  confines  are  many 
art  treasures  of  great  value.  There  are  a  num- 
ber of  charming  drawings  by  the  great  men  of 
Barbizon  as  well  as  by  other  masters  of  dis- 
tinction. The  drawings  of  Millet,  Diaz  and 
Rousseau  will  be  found  especially  interesting. 
The  drawings  of  Bida,  whose  illustrations  of 
religious  subjects  are  among  the  best  of  the 
century,  are  all  here;  also  work  by  the  brilliant 
Fortuny,  Jacquemart,  Zamacois,  Israels  and 
others.  An  important  collection  is  that  of  the 
water-colors  of  Leon  Bonvin,  the  Messonier 
of  wild  flowers  and  weeds.  The  visitor  will 
see  nearly  every  picture  ever  produced  by  this 
wonderful  artist,  who  never  could  be  persuad- 
ed to  paint  cultured  flowers,  choosing  only 
those  of  the  fields  and  byways.  We  would 
give  the  place  of  honor  to  the  drawings  of  Jean 
Fran9ois  Millet  because  of  their  matchless 
beauty,  unlike  that  of  any  other  artist.  They 
are  as  complete  as  his  matured  paintings.  In- 
deed Millet,  in  whatever  material  he  worked, 

171 


WATER- 
COLOR 
GALLERY 

No.  248 

"THE 

SHEPHERDESS" 


No.  226 
'THE  SOWER* 


realized  always  that  which  he  sought  with 
deep  never-failing  seriousness. 
JEAN  FRANCOIS  MILLET 

The  drawing  of  "The  Shepherdess"  is  made 
with  crayon  and  tinted  suggestively  with  pas- 
tel; a  favorite  method  of  Millet's,  and  one  in 
which  he  was  incomparable.  The  poetic  side 
of  peasant  life  is  beautifully  brought  out  in  this 
charming  pastoral.  A  peasant  girl  stands  knit- 
ting while  attending  her  flock.  She,  like  the 
squirrel  or  the  tiny  bee,  thinks  of  the  days  to 
come,  of  the  winter  with  its  frosts,  its  blights. 
She  is  thinking  with  her  hands,  while  her 
faithful  flock,  huddled  closely  together,  taste 
the  sweets  of  the  tender  young  grass.  The 
warm,  soft  light  with  which  the  sky  is  flooded 
throws  a  halo  about  her  form  that  is  like  the 
aura  surrounding  those  beings  seen  in  visions. 
Patience,  love  and  contentment  are  her  attri- 
butes; beauty  her  being.  All  the  tenderness 
and  domestic  love  of  Millet's  nature  is  felt  in 
this  beautiful  picture. 

"The  Sower"  is  a  wonderful  drawing  of  a 
subject  that  brought  forth  the  most  cruel  and 
bitter  criticisms  from  those  who  could  not  and 
would  not  understand  him.  Here  was  a  pict- 
ure that  meant  something;  just  what  no  one 
knew.  Each  critic,  influenced  by  prejudice, 
saw  an  imaginary  meaning  which  came  from 
his  own  distorted  fancy.  All  of  them  agreed, 
however,  that  the  sentiment  expressed  by  the 
artist  was  dangerous;  none  stopped  to  feel  its 
beauty  or  try  to  learn  its  silent  lesson.  To  me 
all  that  Millet  did  is  full  of  lessons  and  preg- 
nant with  meaning.  He  is  a  veritable  revela- 
tion, a  message  of  humanity  for  humanity's 
sake.  In  it  one  feels  Millet's  big  heart.  The 
man  is  sowing.  He  is  doing  it  cheerfully; 
it  is  his  work,  his  mission.  He  does  it  not  in 
172 


selfishness,  but  that  others  may  reap  blessings 
from  his  labor.  Some  seeds  may  fall  in  stony 
ground  and  some  by  the  wayside,  but  those 
that  fall  in  good  ground  shall  bear  fruitage  and 
give  life  to  many.  Whoever  has  toiled  in  the 
field  in  the  early  spring,  when  the  rich  loam 
is  freshly  turned,  has  seen  the  birds  of  all  kinds 
busily  getting  life  and  sustenance  out  of  it. 
The  ploughed  field,  the  sower,  and  the  crow 
are  inseparable.  They  are  a  part  of  the  season. 
Millet  knew  this  because  he  lived  with  nature. 
The  sky  in  this  beautiful  picture  is  full  of  prom- 
ise. No  rainbow  spans  it,  but  life,  light  and  air 
vibrate  in  every  part.  Even  the  man  in  the 
distance  seems  happy  in  his  work.  The  crows 
that  fly  with  broken  movement  through  the 
sky  add  beauty  to  the  scene.  The  heart  of  Mil- 
let felt  its  charm  and  he  drew  it  with  all  the 
power  of  his  great  nature.  Nothing  could  be 
finer,  more  expressive. 

"The  Sheepfold"  is  the  original  design 
from  which  the  beautiful  painting  in  the  main 
gallery  was  executed.  It  is  done  in  black  cray- 
on and  is  fairly  flooded  with  light.  No  draw- 
ing without  the  use  of  color  could  surpass  it 
in  its  light,  its  atmosphere. 

In  this  little  room  is  the  original  design  from 
which  the  famous  "Angelus"  was  painted. 
The  sentiment  of  reverence  for  the  hour,  the 
simple  devotion,  the  religious  feeling  ex- 
pressed are  supreme.  From  far  across  the  low 
flat  plains  come  the  sounds  of  the  bells,  caus- 
ing faithful  believers  to  turn  their  thoughts 
away  from  the  fields,  from  the  unproductive 
soil,  from  pain,  sorrow  and  care.  They  call 
upon  their  simple  hearts  to  be  lifted  up,  away 
from  the  present  unto  a  hope  of  better  things. 
How  beautiful  is  the  composition  of  this  little 
picture  and  how  simple  the  elements  compos- 

173 


WATER- 
COLOR 
GALLERY 

"He  could  express 
the  thoughts  which 
filled  his  sleeping  and 
waking  hours  with 
an  ease  and 
simplicity,  a  clearness 
and  directness, 
which  nothing  could 
hinder  or  obscure. 
All  his  noblest  qualities 
are  present  here. 
His  wonderful  powers 
of  draughtsmanship, 
his  mastery  of  form, 
his  tender  and 
profound  feeling — 
we  find  them  all." 
Julia  M.  Ada 
in  The  Portfolio 


No.  201 
"THE  SHEPHERD 

AT  THE  FOLD 
BY  MOONLIGHT" 


No.  200 
'THE  ANGELUS' 


WATER- 
COLOR 
GALLERY 


No.  235 

•EDGE  OF  THE 
FOREST" 


No.  218 
'DON  QUIXOTE" 


ing  it !  But  how  great  must  have  been  the  man 
whose  hand  could  infuse  into  this  simplicity 
a  sentiment  that  has  touched  the  hearts  of  all 
nations. 
NARCISSE  DIAZ 

One  can  see  in  the  water-color,  "  The  Edge 
of  the  Forest,"  the  beauty  of  simplicity.  Here 
is  a  motive  many  have  passed  unnoticed,  yet 
Diaz  has  made  of  it  a  beautiful  picture.  It  is  so 
large  in  every  respect,  save  actual  dimensions, 
that  you  marvel  at  its  effect.  It  is  only  five  by 
eight  inches  in  size  but  the  grand  old  forest  of 
Fontainebleau  is  wonderfully  realized  in  it. 
Across  the  foreground  extends  a  row  of  splen- 
did oaks,  whose  long  branches  reach  out  and 
mingle  affectionately  with  each  other.  These 
trees  are  in  shadow,but  beyond  them  the  grand 
mass  of  foliage  is  lighted  up  by  brilliant  sun- 
light, which  touches  the  trunks  and  boughs  of 
the  trees,  giving  them  a  charming  pink  gray 
tone.  Through  the  foliage  at  the  top  are  seen 
bits  of  blue  sky.  This  is  without  exception  one 
of  the  daintiest  and  yet  broadest  landscapes 
in  the  room. 
MARIANO  FORTUNY 

Fortuny,  who  was  always  brilliant,  never 
displayed  greater  power  with  his  brush  than 
in  "Don  Quixote,"  which,  from  a  painter's 
stand-point,  is  a  supreme  attainment.  The 
Spanish  hero  is  seen  in  a  half-sitting  position 
arranging  some  details  of  dress  and  evidently 
preparing  for  one  of  his  extravagant  adven- 
tures. The  peculiar  costume,  which  evidently 
was  the  inspiration  of  the  picture,  is  painted 
with  that  mastery  that  was  Fortuny's  alone. 
Everything  is  characterized  with  an  unsur- 
passed vitality.  The  costume,  the  metals,  the 
flesh,  all  the  different  textures,  are  brilliantly 
rendered.  The  bared  upper  half  of  the  figure  is 

174 


especially  fine ;  the  bones,  muscles  and  ten- 
dons are  all  strongly  indicated.  The  piece  of 
metal  furniture  on  which  he  sits,  and  its  elab- 
orate design,  the  effective  arrangement  of  the 
background,  as  well  as  the  other  accessories, 
are  rendered  with  a  skill  that  belonged  only  to 
this  artist,  who  was  a  great  master  of  effect 
and  picturesque  light  and  shade. 

In  "The  Mendicant"  my  elbow  touches  an 
old  friend;  at  least  my  sympathy  goes  out  to 
him.  I  have  seen  many  editions  of  him.  He 
is  like  a  dried-up  weed  in  the  midst  of  a  forest 
filled  with  beauty  and  life,  or  like  an  old  shoe 
that  has  seen  its  best  days.  This  tree  may  have 
borne  fruit  in  the  far-off  past,  but  now  it  can 
only  cast  a  shadow.  Like  the  branch  of  a  weed 
reaching  out  for  the  dew-drop  is  his  outstretch- 
ed hand.  Perhaps  some  one  will  render  aid  so 
that  life  may  hold  its  frail  parts  together  for 
a  little  while  longer.  There  is  something  pa- 
thetic in  the  picture,  aside  from  the  greatness 
with  which  Fortuny  has  expressed  himself. 
As  a  painting  it  is  powerful  and  makes  one 
think  of  the  sullen  expression  with  which  he 
painted  the  figure  in  the  "Door  of  the  Serag- 
lio," one  of  the  Hundred  Masterpieces.  In  its 
technique  it  is  not  as  strong  as  the  "Don  Quix- 
ote," but  there  is  a  depth  of  feeling  expressed 
that  is  of  a  higher  order  and  which  makes  it  a 
picture  that  sets  one's  imagination  to  work.  It 
is  of  a  more  universal  interest.  These  two, 
with  the  great  picture  in  the  main  gallery, 
"The  Rare  Vase,"  make  a  trio  of  water-colors 
by  Fortuny  that  are  simply  wonderful. 
EDUARD  ZAMACOIS 

Another  gifted  Spaniard,  Eduard  Zamacois, 
is  represented  by  the  water-color,  "Waiting 
at  the  Church  Porch."  The  coloring  in  this 
picture  is  much  brighter  than  in  the  two  For- 

175 


WATER- 
COLOR 
GALLERY 


No.  237 
"THE  MENDICANT" 


No.  254 

"WAITING  AT  THE 
CHURCH  PORCH" 


WATER- 
COLOR 
GALLERY 


"Zamacois,  with  a 

manner  almost  as 

perfect  as  Meissonier's, 

is  a  satirist;  he  is  a 

man  of  wit,  whose 

means  of  expression 

is  comparable  to 

a  jeweled  and  dazzling 

weapon, — so  much 

so  that  to  express  his 

rich  and  intense 

color,  his  polished 

style,  he  has  been  said 

to  embroider  his 

coarse  canvas  with 

pearls,  diamonds 

and  emeralds." 

Eugene  Benson 


No.  246 

"XANTHE  AND 
PHAON" 


tunys,  which  are  subdued  in  tone.  The  reds  of 
some  of  the  draperies  are  remarkably  brilliant. 
A  number  of  servants  in  gay  attire  are  waiting 
on  the  steps  of  the  church,  while  their  masters 
worship  within.  The  nearest  one,  in  a  richly 
embroidered  red  coat,  leans  against  a  column, 
engaged  in  conversation  with  an  old  man  sit- 
ting on  the  steps,  who  with  much  animation 
emphasizes  an  argument  with  gestures.  Back 
of  him  is  an  elderly  lackey  listening  atten- 
tively to  their  talk.  Near  them  is  a  group  of 
persons  whose  faces  show  feelings  of  disgust. 
The  bearing  of  the  fellows  is  pompous;  they 
evidently  feel  the  importance  of  their  position, 
and  are  drawn  and  painted  with  consummate 
art.  It  is  one  of  the  strongest  water-colors  in 
the  collection. 
LAURENZ  ALMA-TADEMA 

There  is  a  bit  of  history  connected  with  the 
little  water-color,  "Xanthe  and  Phaon,"  that 
is  charmingly  romantic.  Alma-Tadema  once 
painted  a  picture  he  called  "The  Question." 
George  Ebers,  enamored  by  its  beauty,  caught 
the  inspiration  and  wrote  a  beautiful  ideal  story 
based  upon  it,  which  he  dedicated  to  the  artist. 
Complimented  by  the  tribute, Tadema  entered 
fully  into  the  spirit  of  the  work  when  the  wish 
was  expressed  by  a  friend  to  possess  a  picture 
painted  by  him  from  a  scene  in  the  book,  to 
represent  Xanthe  and  Phaon,  the  two  princi- 
pal characters.  It  is  not  necessary  to  read  the 
book  in  order  to  see  that  Tadema  has  realized 
a  beautiful  ideal,  for  this  is  one  of  the  most 
beautiful  water-colors  of  the  collection,  and 
one  in  which  Tadema  has  painted  his  most 
poetic  feeling.  On  an  elevated  marble  seat 
sits  the  beautiful  young  girl,  Xanthe,  her  head 
crowned  by  a  wealth  of  golden  red  hair.  One 
arm  lies  gracefully  along  the  back  of  the  seat, 
176 


the  elbow  of  the  other  rests  in  her  lap.  Her 
fingers  are  touching  her  mouth.  She  seems  in 
deep  study;  she  is  halting  between  two  opin- 
ions. Stretched  at  length  on  the  seat  is  the 
youthful  Phaon,  who,  with  upturned  face, 
pleads  his  case.  They  are  lovers,  but  have 
drifted  apart  by  a  series  of  misunderstand- 
ings. Xanthe  has  come  to  this  seat  beside  the 
fountain  and  found  Phaon  asleep.  She  chides 
him  for  sleeping  while  the  sun  shines  and  ac- 
cuses him  of  rioting  and  keeping  late  hours. 
Phaon  explains  that  during  the  nights  he  has 
watched  her  father's  olive  groves,  driving 
away  those  who  would  destroy  them.  Thus 
paving  the  way,  Phaon  asks  "The  Question" 
as  to  her  love.  This  is  the  moment  that  Tad- 
ema  has  beautifully  illustrated.  Xanthe's  lap 
is  filled  with  luscious  roses,  such  roses  as  only 
Tadema  can  paint.  Some  of  them  have  fallen 
at  her  feet.  Over  the  seat  is  a  Stella  on  which 
are  some  Greek  inscriptions  and  a  branch  of 
olives.  At  the  left  a  stairway  leads  down  from 
the  seats,  with  roses  scattered  on  it  here  and 
there.  Beneath  the  lovers  is  a  pool  of  crystal 
water,  in  which  the  blue  sky,  the  marble  walls 
and  the  two  figures  are  reflected  in  a  charm- 
ing mass  of  color,  on  the  surface  of  which  the 
petals  of  roses  float.  Above  is  the  sky,  blue 
and  undisturbed  save  by  some  white  clouds 
that  drift  in  the  far-away  distance.  The  calm 
sea  is  a  strange  blue-green  color  that  is  in- 
comparable in  its  depths.  Nothing  could  be 
more  beautiful,  or  ideal.  The  girl's  face  is 
charming.  Her  costume  is  of  grayish  pink. 
The  youth  is  of  dark  complexion;  he  has  black 
hair,  and  wears  a  yellow-gray  robe.  The  blue 
of  the  sky,  the  creamy  white  marble  and  the 
roses  make  an  array  of  beautiful  colors  gem- 
like  in  their  purity. 

177 


WATER- 
COLOR 
GALLERY 


"The  great  aim  of 
Tadema's  art  is  to 
bring  his  Egyptians, 
Romans,  and 
Greeks  within  the 
scope  of  our  sympathies, 
or  at  least  of  our 
comprehension  of 
them  as  men  and 
women;  not  as 
simply  Romans,  or 
Greeks,  or 
Egyptians." 

Helen  Zimmern 


WATER- 
COLOR 
GALLERY 

No.  245 

VTWIXT   VENUS 
AND  BACCHUS" 


Nos.  250-251 

"TWO  PORTRAITS 

OF  HIMSELF" 


No.  221 

'COURTYARD  OF 

THE  ARTIST'S 

STUDIO" 


"The  day  when 

M.  Meissonier  sets 

the  signature  at  the 

bottom  of  the  finished 

task,  he  is  satisfied 

that  he  has  poured  his 

talent  completely 

into  his  picture.  *  You 

could  not  get  from 

him  at  any  price 

a  work  which  he  does 

not  himself  judge  to 

be  carried  out  to 

its  full  intensity." 

Albert  Wolff 


"'Twixt  Venus  and  Bacchus"  is  good  in 
color  and  textures,  and  under  the  name  of  al- 
most any  other  artist  would  rank  high,  but  as 
a  Tadema,  compared  with  the  picture  just  de- 
scribed and  the  great  examples  of  his  art  in  the 
main  gallery,  it  loses.  It  is  beyond  dispute  that 
nowhere  is  Alma-Tadema  so  finely  repre- 
sented as  in  this  collection.  Nothing  by  him 
sent  to  the  English  exhibit,  or  the  Loan  Col- 
lection, at  the  Chicago  Fair,  equaled  the  great 
canvases  found  here. 
JEAN  LOUIS  ERNEST  MEISSONIER 

Two  portraits  of  himself,  drawn  in  red  and 
black  chalks,  give  us  Meissonier  at  the  age  of 
forty.  They  are  beautifully  finished,  present 
two  very  different  views  of  the  artist  and  show 
him  to  have  been  rather  slender  at  that  age. 
They  are  as  carefully  drawn  as  a  line  engrav- 
ing, and  are  valuable  as  early  portraits  of  the 
great  man  who  forged  his  way  through  all  ob- 
stacles until  he  became  one  of  the  distinct 
characters  of  his  time. 

One  of  Meissonier's  finest  water-colors  is  of 
the  open  courtyard  of  his  studio.  It  has  all 
of  the  strength  and  depth  attained  by  him  at 
his  best  in  the  stronger  medium  of  oil.  A  beau- 
tifully caparisoned  cavalier,  graceful  and  ele- 
gant of  figure,  is  seen  leaning  against  the  wall 
of  a  court.  His  aspect  is  one  of  gayety,  as  with 
upturned  face  he  seems  to  be  singing  a  ditty 
to  some  fair  one  above.  In  his  hands  he  holds 
a  slender  whip  which  he  bends  into  a  graceful 
curve.  He  is  the  height  of  picturesque  beau- 
ty in  his  black  slouch  hat,  gray  coat,  broad  lace 
collar,  tan  colored  boots  and  broad  leather 
straps  across  his  shoulders,  from  which  hangs 
a  sword.  His  face  fairly  beams  with  life.  His 
ruddy  complexion,  sandy  hiied  hair  and  artis- 
tic costume  make  a  charming  effect  of  color. 


GEORGE  H.  BOUGHTON 

The  two  water-colors  by  Boughton  are  good 
examples  of  his  style.  "The  Fairy  Tale"  is 
painted  in  the  extreme  pre-Raphaelite  man- 
ner. An  old  woman  who  has  been  gathering 
fagots  is  sitting  on  the  ground  telling  fairy  tales 
to  a  little  girl  whose  every  nerve  is  alert  with 
interest.  As  an  example  of  a  phase  of  English 
art  which  for  some  years  held  sway  it  is  fine. 
Autumn  with  its  sober  tints  is  well  expressed, 
and  though  one  may  not  like  the  almost  pain- 
ful manner  in  which  each  dead  leaf  is  painted, 
yet  there  is  so  much  that  is  serious  about  the 
picture  that  you  can  not  help  being  deeply  in- 
terested. 

"A  Brittany  Interior"  is  a  fine  bit  of  painting, 
very  different  from  the  former  in  treatment. 
There  is  a  Frere-like  spirit  in  it.  A  young  peas- 
ant woman  is  rocking  a  cradle  in  which  is  a 
sleeping  child.  The  light  falls  from  a  quaint 
window,  touching  the  figure  of  the  girl  in  a 
beautiful  manner.  It  is  peaceful  and  homelike 
in  sentiment  and  in  its  treatment  is  more  sim- 
ple than  "The  Fairy  Tale." 
JULES  FERDINAND  JACQUEMART 

Jacquemart  is  noted  for  his  etchings  of  still- 
life  and  objects  of  art.  Hamerton  says  of  him, 
"I  never  knew  the  glory  and  beauty  of  noble 
old  work  in  the  precious  stones  and  metals  till 
Jules  Jacquemart  taught  me.  The  jewels  of  the 
Louvre  were  familiar  to  me,  but  a  veil  hung 
between  me  and  their  true  splendor;  and  it  was 
only  when  Jacquemart  had  etched  them  one  by 
one  that  I  learned  to  know  them  truly."  The 
one  picture  by  him  here  is  a  water-color  which 
shows  him  to  have  also  possessed  splendid  tal- 
ent in  landscape  painting.  Jacquemart  sang 
few  songs  but  sang  them  well.  The  song  of  the 
mountains  was  never  rendered  more  beautiful- 

179 


WATER- 
COLOR 
GALLERY 

No.  252 
"THE  FAIRYTALE' 


No.  241 

'A  BRITTANY 
INTERIOR" 


NO.  220 

•A  LANDSCAPE' 


WATER- 
COLOR 
GALLERY 


No.  228 
'MARINE" 


No.  232 
"MARINE1 


"Isabey  takes  the  first 

motifs  at  hand;  a 

stile,  a  stone,  a  yawl, 

painted  by  him  has 

a  spiritual  air;  his 

rapid  and  nervous 

touch  has  the  certainty 

of  dash  of 

a  sweeping  hand." 

Th6ophile  Gautier 


ly  than  it  is  in  the  water-color,  "A  Landscape." 
You  are  up,  way  up,  on  a  hill  overlooking  an 
undulating  valley,  studded  with  habitations  of 
men  and  culminating  in  rock-ribbed  hills  that 
lift  their  proud  heads  to  meet  the  sky.  Mon- 
arch-like, they  stand  robed  in  purple  grandeur. 
The  receding  hills  and  dales  are  clothed  in 
warm  pinks,  tender  greens  and  purpling  shad- 
ows, on  which  the  summer  sunlight  loves  to 
linger.  Over  them  hangs  a  veil  of  mist  that  adds 
a  charm  to  the  scene  and  which  is  painted  with 
a  great  appreciation  of  the  picturesque.  There 
is  a  calm  peacefulness  in  the  picture  that  is  felt 
as  soon  as  you  look  at  it.  Jacquemart  died  in 
the  prime  of  life.  He  only  painted  a  few  pict- 
ures, eighteen  in  all. 
EUGfeNE  ISABEY 

Here  are  two  fine  examples  of  Isabey's  ma- 
rine painting.  In  No.  228  is  a  splendid  gray  sky, 
strange  in  its  effect.  The  sea  stretches  away  to 
the  left  and  in  the  distance  are  some  high  blue 
gray  cliffs.  Near  the  front  of  the  picture  is  a 
rocky  ledge  on  which  some  fishermen  have 
built  their  huts.  They  are  positive  in  color,  and 
very  rich  and  shadowy  in  effect.  Near  these 
huts  are  two  small  fishing  boats.  The  fore- 
ground is  a  surf- washed  beach  over  which  you 
can  almost  see  the  water  creep  and  recede. 

In  No.  232  the  hulls  of  two  old  boats  lie  on  the 
beach.  The  one  in  the  foreground  is  strong  and 
sober  in  color,  and  vigorously  painted.  Back 
of  it  is  a  second  boat,  its  picturesque  effect 
heightened  by  the  foggy  atmosphere  that  in- 
tervenes. Beyond  is  a  promontory,  bold  and 
rugged;  a  fisherman's  hut  stands  near.  In  the 
foreground,  with  its  warm-colored  rocks  and 
dark  pools  of  water,  some  fisherwomendressed 
in  red  and  blue  form  a  mass  of  rich  color.  These 
boats  and  bluffs  come  in  sober  tones  against  a 
180 


cloudy  whitesky  through  which  bits  of  blue  are 
seen.  The  picture  is  -wonderfully  interesting. 
FRANCIS  HOPKINSON  SMITH 

The  latest  acquisition  to  the  collection  of 
water-colors  is  a  splendid  example  of  this  art- 
ist, who  is  a  native  of  Baltimore.  It  is  called 
"Over  a  Balcony."  The  placing  of  this  picture 
upon  the  walls  is  a  fitting  testimonial  to  the 
merits  of  the  painter,  who  seems  to  flit  here  and 
there  as  free  as  the  wind,  gleaning  fresh  gems  of 
beauty  from  almost  every  clime.  This  is  Ven- 
ice, always  beautiful;  you  are  looking  from  a 
balcony  above,  and  directly  over,  the  Grand 
Canal.  This  point  of  view  throws  the  horizon 
high  up  in  the  picture,  thus  giving  a  very  broad 
sweep  of  the  limpid  waters.  To  the  right,  and 
occupying  the  edge  of  the  picture,  is  part  of  a 
tall  building  or  palace,  whose  outline  sharply 
cuts  against  the  receding  objects.  Projecting 
from  its  front  is  a  quaint  balcony,  supported  by 
huge  lions'  heads,  and  filled  with  plants  and 
flowers,  set  in  vari-colored  pots.  They  are  all 
sharply  defined  and  give  great  accent  to  the 
picture.  From  this  point,  and  extending  away 
in  picturesque  perspective,  are  the  palaces 
which  front  on  the  canal,  with  here  and  there 
bits  of  gardens.  This  line  of  buildings  culmi- 
nates in  the  grandly  imposing  domes  of  Santa 
Maria  della  Salute,  which  rises  god-like  out  of 
the  waters.  Behind  and  above  them  is  painted 
a  sky  which  revels  in  the  glory  found  only 
in  the  Adriatic;  it  is  luminous  and  beautiful. 
From  this  great  mass  of  light  the  eye  sweeps 
back  in  successions  of  delight  alongthe  waters 
of  the  canal,  whose  bosom  images  the  sky  in 
all  its  simple  beauty,  and  is  broken  here  and 
there  by  gondolas  and  poles  which  give  accent 
to  the  water  textures.  It  is  a  fine  realization  of 
air,  space  and  color,  subdued  and  subjective. 

181 


WATER- 
COLOR 
GALLERY 

No.  272 

"OVER  A 

BALCONY" 


WATER- 
COLOR 
GALLERY 

No.  249 
"A  DUTCH 
INTERIOR" 


No.  240 
'HOLLAND' 


JOSEF  ISRAELS 

Israels  is  the  greatest  of  living  Dutch  paint- 
ers. No  one  living  can  equal  the  pathos  with 
'which  he  can  express  himself;  indeed,  there  is 
a  power  in  his  work  which  has  molded  the  art 
of  figure  painting  in  this  country,  even.  The 
art  of  Israels  differs  from  that  of  any  contempo- 
rary painter.  His  depth  of  color  is  marvelous. 
He  is  a  master  of  both  oil  and  water-colors, 
working  in  either  with  equal  facility.  His  wa- 
ter-color here  is  "A  Dutch  Interior."  In  a  cool, 
shadowy  room  a  child  sleeps  in  a  plain  wooden 
cradle.  The  mother  is  busily  engaged  in  knit- 
ting, her  back  turned  towards  a  quaint  window, 
such  as  are  found  only  in  Holland.  A  little 
kitten  sits  on  the  floor,  playfully  watching  the 
woman's  hands  ply  the  needles.  It  is  a  poem  of 
domestic  happiness,  told  in  a  way  befitting  the 
simplicity  of  the  life.  Repose  isats  most  beau- 
tiful characteristic.  Seriousness  is  the  founda- 
tion of  Israels' art,  and  beauty  the  frame-work 
of  its  construction.  The  life  and  work  of  this 
great  Dutchman  has  been  one  of  sturdy  and 
gradual  growth;  he  has  never  wavered  from 
the  ideal  towards  which  he  has  journeyed.  His 
great  painting, "Alone, "shown  atthe  World's 
Fair  of  1893,  is  one  of  the  grandest  expressions 
of  hopeless  melancholy  in  existence. 
FELIX  ZIEM 

There  are  a  number  of  water-colors  in  the 
room  by  this  artist.  In  them  are  to  be  seen 
many  of  the  qualities  found  in  his  pictures  in 
the  main  gallery,  'they  are  most  of  them  Ve- 
netian in  subject,  with  morning  and  evening 
effects.  One  among  them  is  so  unlike  the  pict- 
ures by  him  already  described  that  on  seeing 
it  you  think  of  the  painters  of  the  country  in 
which  the  scene  is  laid.  The  atmosphere  in  this 
little  picture,"  Holland,"  is  especially  beauti- 
182 


ful,  and  as  in  all  of  Ziem's  pictures,  the  sky  is  a 
prominent  feature.  Warm  gray  clouds  float 
through  a  murky,  creamy  sky.  A  low,  flat  plain 
forms  the  distance,  which  is  dotted  with  pict- 
uresque trees  and  windmills,  deep  and  rich  in 
color.  These  effects  are  reflected  in  some  wa- 
ter that  divides  the  distance  from  the  fore- 
ground, a  flat  stretch  of  land  rather  marshy  in 
character.  Standing  at  the  edge  of  the  water 
are  some  cows.  The  quiet,  peaceful  sentiment 
and  the  warm,  gray  tone  throughout  the  pict- 
ure are  very  fine.  It  is  an  excellent  piece  of 
painting. 
ISIDORE  ALEX.  AUGUSTIN  PILS 

The  drawing  in  "Artillery  Practice"  shows 
Pils  to  have  been  a  thorough  student  of  mili- 
tary life.  These  artillerymen  are  going  through 
some  manoeuvres  of  the  drill.  The  group  in 
front,  shifting  the  position  of  a  cannon,  is  es- 
pecially fine.  You  feel  the  exertion  they  are 
making  to  move  it.  The  picture  fairly  bristles 
with  energy;  indeed,  you  realize  at  once  Pils' 
mastery  of  drawing.  Its  color  is  strong  and 
vigorous;  the  strength  of  the  medium  being 
tested  to  its  fullest  extent. 

In  No.  227,  by  the  same  artist,  a  Zouave  in 
full  uniform  stands  resting  on  his  gun.  He  is 
a  typical  French  soldier,  and  in  his  uniform 
of  blue  and  red,  with  yellow  hose,  makes  a 
picturesque  figure.  The  picture  is  strongly  and 
boldly  painted. 
ARY  SCHEFFER 

A  remarkable  drawing  by  Scheffer,  whose 
manner  was  extremely  chaste  and  pure,  is  his 
"  Dante  and  Beatrice."  In  it  all  the  character- 
istics of  his  art  are  exemplified.  The  figure  of 
Beatrice  is  full  of  innocence  and  beauty.  The 
finish  is  exquisite  and  yet  very  broad. 


WATER- 
COLOR 
GALLERY 


No.  222 

'ARTILLERY 
PRACTICE" 


No.  227 
•THE  ZOUAVE' 


No.  211 

'DANTE  AND 
BEATRICE" 


183 


WATER- 
COLOR 
GALLERY 

No.  238 
"THE  FISH 
MARKET" 


No.  207 

'THE  TEMPTATION 
ON  THE  MOUNT" 


No.  239 

•PEN-AND-INK 
DRAWING" 


No.  223 
'A  LANDSCAPE" 


FREDERICK  WALKER 

"  The  Fish  Market "  is  finished  with  the  skill 
of  Teniers.  On  a  large  slab  of  marble  in  front 
of  a  stall  is  a  varied  collection  of  fish,  all  sizes 
and  colors.  The  keeper,  a  fat  old  man,  stands 
commenting  on  the  quality  of  his  goods  to  a 
maiden  who  looks  wistfully  at  them.  At  one 
side  a  youthful  Lord  Fauntleroy,  with  hoop  in 
hand,  is  leaning  over  a  tub  in  which  something 
has  attracted  his  attention.  The  stall  is  painted 
green,  the  keeper's  garb  is  blue,  and  the  young 
girl  is  dressed  in  dark  yellow.  The  picture  is 
strong,  and  elaborate  in  its  execution. 
JEAN  MARIE  SAINT-feVE 

"The  Temptation  on  the  Mount"  is  a  fine 
drawing  made  from  the  original  painting  by 
Ary  Scheffer.  Christ  is  represented  as  standing 
on  an  eminence.  He  is  calm  and  dignified  in 
his  bearing.  Close  by  him  is  the  tempter,  every 
feature  lighted  with  devilish  cunning.  The 
characteristics  of  the  original  painting  arefine- 
ly  translated  into  white  and  black. 
THEODORE  ROUSSEAU 

A  pen-and-ink  drawing  by  Rousseau  shows 
the  patient  carefulness  with  which  he  studied 
tree  forms.  He  characterized  both  the  trunks 
and  foliage  with  a  bold,  free  line ;  after  which 
the  various  tones  were  washed  in  with  simple 
flat  tints.  The  picture  is  so  true  and  effective 
that  one  can  almost  feel  the  dark,  rich  velvety 
green  of  the  foliage,  notwithstanding  it  is  sim- 
ply a  monochrome.  The  relationship  between 
the  trees  and  sky  is  especially  strong. 

Another  beautiful  drawing  is  "A  Land- 
scape." There  is  an  air  about  it  that  is  so  quiet, 
so  peaceful.  While  there  was  a  vein  in  Rous- 
seau's nature  that  enabled  him  to  paint  a  wild, 
turbulent  landscape,  filled  with  foreboding 
gloom,  at  the  same  time  no  one  could  render 
184 


the  repose  of  a  still  summer  day  with  greater 
success  than  he.  This  picture  is  drawn  with 
black  crayon,  the  effect  heightened  by  the  use 
of  hard  pastel.  The  scene  represents  a  small 
woodland  glade  in  which  Rousseau  was  espe- 
cially fond  of  working.  Slender  young  trees 
line  its  edge  and  a  peasant's  cottage  nestles 
among  them.  A  pool  of  quiet  water  in  the  fore- 
ground mirrors  the  objects  near  by.  The  upper 
sky  is  clouded,  but  the  clouds  are  so  light  they 
seem  to  be  lifting  up. 
HENRIQUE  DUPONT 

Dupont's  drawing  for  the  engraving  of  "The 
Marriage  of  St.  Catherine"  by  Correggio  is  as 
fine  a  piece  of  reproductive  drawing  as  was 
ever  executed  from  an  original.  It  is  in  black 
and  white,  yet  all  the  beauty  of  the  picture  has 
been  translated  into  this  one  simple  medium 
with  a  delicacy  and  faithfulness  that  is  remark- 
able. Dupont  was  one  of  the  most  distinguished 
engravers  of  the  century.  Enamored  of  this 
beautiful  masterpiece,  he  desired  to  make  an 
engraving  of  it  that  should  be  the  crowning 
work  of  his  career.  As  the  authorities  declined 
to  permit  the  great  work  to  be  removed  from 
the  Louvre,  Dupont  was  employed  ten  months 
in  producing  this  elaborate  and  careful  draw- 
ing, as  the  only  means  of  securing  the  spirit  of 
the  original.  That  he  succeeded  perfectly  the 
drawing  attests.  Every  characteristic  of  the 
great  Italian  is  preserved. 
FELIX  O.  C.  BARLEY 

Darley  was  one  of  our  most  original  artists, 
and  his  illustrations  and  pictures  were  favor- 
ably known  in  continental  Europe.  "On  the 
Trail"  is  one  of  the  best  drawings  ever  made 
by  him.  It  is  an  incident  of  the  life  of  the  In- 
dian, that  primitive  American  who  is  now  al- 
most driven  from  his  native  country.  In  a  deep 

185 


WATER- 
COLOR 
GALLERY 


No.  205 

'THE  MARRIAGE  OF 
ST.  CATHERINE" 


No.  210 
•ON  THE  TRAIL' 


WATER- 
COLOR 
GALLERY 


No.  206 

•MOONLIGHT  ON 
THE  THAMES" 


No.  208 

"ANDALUSIAN 
BULLS" 


No.  224 

"THE  CONVERSA- 
TION" 


No.  234 

"SOLDIER'S 

EXPERIENCE" 


forest,  where  mystery  and  loneliness  dwell,  a 
party  of  Indians  are  tracking  an  enemy.  They 
are  cautious  and  alert,  as  if  sensing  the  prox- 
imity of  what  they  are  seeking.  The  leader  of 
the  party  is  sprawling  on  the  ground  with  one 
ear  pressed  tightly  to  it,  listening  for  the  sound 
of  footsteps.  This  was  a  custom  among  the 
North  American  Indians,  some  of  whom  could 
hear  the  approach  of  men  or  horses  in  this  way 
a  long  distance.  The  drawing  of  the  figures, 
the  careful  study  of  the  types,  the  wildness  of 
the  forest,  all  bespeak  the  ability  of  the  artist. 
PIERRE  JEAN  CLAYS 

A  water-color  of  great  truth  and  beauty  is 
"Moonlight  on  the  Thames,"  by  Clays,  who 
has  caught  the  strange  mystery  of  the  light  of 
the  moon,  with  murky,  yeasty  water  shimmer- 
ing in  a  subdued,  strange  glow.  The  sky  is 
covered  with  white  clouds  through  which  the 
moonlight  is  thinly  sifted.  Against  it  the  brown 
sails  of  some  boats  are  painted  with  charming 
effect. 
ROSA  BONHEUR 

Among  the  drawings  by  distinguished  art- 
ists, two  by  Mile.  Rosa  Bonheur  are  remarka- 
ble as  showing  the  carefulness  with  which  she 
studies  animals.  The  "Andalusian  Bulls," 
with  long,  curly  hair,  not  unlike  that  of  the  buf- 
falo, are  drawn  with  a  realistic  skill  and  evi- 
dently with  great  truth  to  the  models,  and"The 
Conversation"  shows  the  love  ofttimes  dis- 
played between  man  and  his  faithful  friend. 
A  shepherd  is  seen  talking  with  his  dog.  They 
seem  to  be  giving  mutual  exchanges  of  affec- 
tion, while  the  flock  is  grazing  near  by. 
R.  C.  WOODVILLE 

The  "Soldier's  Experience,"  is  by  Wood- 
ville,  who  was  one  of  our  early  painters,  and 
delineated  incidents  of  every-day  life.  A  sol- 
186 


dier  is  relating  his  adventures  to  an  interested 
audience  that  listens  with  amazement.  The 
picture  is  well  drawn  and  shows  the  artist  to 
have  been  in  advance  of  those  of  his  times  who 
tried  to  paint  this  kind  of  subject. 
WILLIAM  HUNT 

This  artist  was  a  relative  of  Holman  Hunt, 
the  great  Pre-Raphaelite,  and  was  distin- 
guished for  his  still-life.  He  was  one  of  the  best 
water-colorists  of  England  in  this  field,  and 
No.  230  is  an  excellent  example  of  his  work. 
F.  GIACOMELLI 

No  one  ever  studied  birds  with  greater  love 
than  Giacomelli,  who  arranged  them  into 
charming  little  groups,  decorative  in  effect. 
Here  are  a  score  or  two  of  little  birds  sitting 
closely  together  on  a  twig.  They  are  chatter- 
ing glibly  of  matters  of  import  to  birdland,  or 
probably  arranging  a  rehearsal  for  a  concert 
that  will  bring  notes  of  joyousness  to  many 
ears.  Their  plumage  is  varied  and  charming- 
ly painted. 


WATER- 
COLOR 
GALLERY 


No.  230 
"STILL  LIFE" 


No.  247 
'BIRDS" 


"By  instinct,  the 

result  of  a  mysterious 

transmission,  of 

which  science  can 

only  note  the  effect, 

he  was  a  painter, 

a  musician,  an  artist, 

sensitive  to  harmonies 

of  all  kinds." 

Philippe  Burty 


EON  BONVIN^:  It  is 
almost  vain  to  attempt  to 
write  anything  of  the  life 
of  this  Bonvin,  because 
nothing  can  convey  an 
idea  of  his  character  or 
unique  skill  half  so  well 
as  his  miniature  water- 
colors.  But  all  will  be 

interested  in  an  inkling 

of  the  life,  environments  and  sorrows  of  this 
strange  man, a  life  not  "writ  in  sand,"  but  in  liv- 
ing colors.  The  sorrows,  the  joys,  all  the  varied 
emotions  that  moved  him  found  expression  in 
his  pictures.  Bonvin  possessed  the  soul  of  art. 
He  was  as  timid  as  a  child.  His  nature  was 
filled  with  the  grand  harmonies  of  music,  but 
he  sought  in  vain  for  an  outlet  through  that 
medium;  for,  having  a  wife  whose  thought  was 
of  gain  and  who  knew  nothing  of  these  gifts 
and  could  not  understand  him,  Bonvin's  life 
was  rendered  miserable.  Filled  with  emo- 
tion, he  would  seat  himself  at  an  instrument  to 
.study  the  great  masters,  Beethoven,  Mozart  or 
Bach,  only  to  hear  the  sharp  voice  of  his  wife 
demanding  a  cessation;  as  that  style  of  music 
was  not  pleasing  to  the  customers  of  their  inn, 
and  they  must  have  patronage.  So  the  soul 
of  Bonvin  sought  a  more  silent  expression 
through  his  pictures.  But  peculiar  in  temper- 
ament, he  could  not  turn  to  the  great  center  of 
art,  Paris;  his  companions,  the  weed  and  the 
wild  flower,  were  not  to  be  found  there.  So 
singular  was  his  sensitive  nature  that  he  could 
not  paint  the  cultured  flowers,  refusing  when 
solicited,  saying,  "I  can  not  paint  this."  The 
dead  weed,  the  spotless  daisy,  the  sweet  violet, 
the  tall  spears  of  grass  were  his  friends.  He 
could  go  to  the  tiniest  wild  flower  that  grew, 
188 


and  tell  his  sorrows,  and  with  smiling  faces  BONVIN 
these  wee,  modest  ones  would  comfort  him. 
Often  in  the  dead  of  night,  when  slumber  held 
those  about  him  in  her  silent  chains,  Bonvin 
would  sit  in  his  room  painting  bits  of  still-life 
that  are  unequaled  in  their  way.  After  spend- 
ing many  hours  in  silent  communion  with 
these  matchless  drawings,  I  make  bold  to  say 
that  in  all  the  history  of  art  only  one  Leon 
Bonvin  ever  existed.  And  his  life  as  written 
in  his  works  can  only  be  found  and  read  in 
this  little  room,  as  nearly  all  his  works  are  here. 

Turning  away  from  the  shadows  that  hov-  NO.  268 
ered  over  his  domestic  life,  Bonvin  always 
found  sympathy  in  the  fields.  As  he  was  pass- 
ing, a  beautiful  rose  lifted  its  head  and  spoke 
to  him,  and  with  a  skill  worthy  of  a  Meissonier 
he  painted  it  with  its  branches  against  a  sil- 
very sky,  in  all  its  dewy  joyousness. 

Then  again  some  lovely  white  asters  turned  NO.  265 
to  him  and  smiled.  With  consummate  art  he 
expressed  the  gladness  of  their  beauty.  Pure 
and  white,  with  yellow  centers,  they  are  set 
gem-like  against  the  early  morning  sky,  their 
petals  and  leaves  rendered  with  marvelous 
skill. 

In  another  picture  night  is  stealing  on,  but  he  NO.  263 
has  gone  forth,  and  seen,  amid  the  gathering 
darkness,  a  slender  bush  whose  form  is  shaped 
into  wondrous  lace  against  a  crimson  sunset. 
Gloom  and  mystery  are  expressed  in  the  sky, 
which  is  worthy  of  Rousseau,  the  painter  of 
the  great  "Winter  Solitude." 

The  day  has  been  unusually  hard;  he  goes  NOS.  255  and  271 
to  the  field.  The  tender  little  spears  of  grass, 
with  their  varied  kin,  and  the  big  sturdy  thistle 
give  him  a  joyous  welcome.  The  sky  bright- 
ens, the  landscape  of  gloom  gives  place  to  one 
scintillating  with  light,  amid  which  he  paints 

189 


BONVIN  his  friends  the  grasses  and  weeds,  and  tells 
their  story  of  grace  and  beauty;  while  birds 
perched  on  their  tiny  stems  give  back  the 
gladness  of  morning  in  happy  song. 

NO.  261  Or,  filled  with  the  sentiments  of  the  hour, 
Bonvin  expresses  his  feeling  in  some  lovely 
bluebells  that  lift  their  heads  to  a  rainy  sum- 
mer sky. 

NO.  257  Then  in  another  the  sadness  of  his  environ- 
ment has  fallen  like  a  shroud  over  him.  A 
leaden-gray  evening  sky  is  broken  by  a  small 
patch  of  pale,  sickly,  yellow  light.  Out  of  the 
almost  blackness  of  this  gloom  a  few  slender 
dead  weeds  lifted  their  heads,  and  he  painted 
them. 

So  he  went  on  and  on;  you  can  read  each 
step  as  you  gaze  at  these  wonderful  little  wa- 
ter-colors. Grapes  not  much  larger  than  a  pin 
head  are  rounded  and  developed  with  a  truth 
to  nature  beyond  a  parallel  in  art.  Oranges, 
pomegranates,  mustard  cups,  napkins,  rad- 
ishes, carrots,  dried  herrings,  old  bottles,  any- 
thing, served  as  models. 

NO.  256  A  glass  filled  with  the  tops  of  blue  grass  and 
tiny  field  flowers  whose  blossoms  are  not  much 
larger  than  the  seeds  of  the  grass,  are  painted 
with  charming  beauty. 

NO.  269  In  another,  a  slender  glass,  partly  filled  with 
white  wine,  stands  on  a  table  near  great  bunch- 
es of  green  and  blue  grapes,  a  decanter,  two 
large  pears,  some  nuts,  and  a  knife,  all  seem- 
ing as  large  as  life,  and  yet  painted  in  a  space 
of  less  than  four  inches. 

NO.  26*  Some  old-fashioned  pinks,  red  and  white, 
are  stuck  in  a  glass.  They  are  very  small,  yet 
their  textures  and  forms  are  rendered  so  beau- 
tifully that  they  seem  like  the  real. 

NO.  262       A  cluster  of  violets  are  so  freshly  and  sweet- 
ly painted  that  they  would  lose  nothing  out 
190 


No.  262 

"L6on  Bonvin  has 
expressed  all  , 

the  variety  of  beauty, 
all  the  profound 
poetry,  that 
is  contained  in 
these  humble  models." 
Phillipe  Burty 


among  their  native  verdure  and  we  even  seem    BONVIN 
to  catch  their  perfume. 

A  portrait  of  his  wife  standing  in  a  kitchen 
culling  vegetables  is  as  fine  as  that  of  any 
master  who  made  a  specialty  of  such  subjects. 
It  is  as  serious  as  though  painted  by  Leys.  The 
reds  of  the  drapery  are  as  brilliant  as  those  in 
the  Zamacois  water-color.  The  copper  stew- 
pan  is  painted  with  a  skill  equal  to  that  of  For- 
tuny,  and  the  wonderful  shadows  of  the  room 
have  the  depth  of  Isabey. 

Such  the  work  and  such  the  life  of  Leon  Bon- 
vin. He  seemed  to  have  been  cast  in  a  condi- 
tion that  he  could  in  no  way  lift  himself  out  of, 
and  left  with  scarcely  anyone  who  could  un- 
derstand or  sympathize  with  him.  The  owner 
of  these  pictures,  whose  purchase  of  them  was 
the  only  encouragement  he  ever  received,  and 
who  bought  everything  he  painted,  often  ad- 
vised him  to  take  his  work  to  Paris.  But  he 
shrank  from  the  excitement  of  the  city  and 
found  his  only  solace  in  the  solitude  of  nature. 

You  turn  and  see  standing  in  the  corner  of 
the  room  a  picture  of  night,dark  and  indistinct. 
There  are  the  outlines  of  distant  buildings, 
and  some  weeds  in  the  foreground  are  defined 
against  the  sky,  where  the  moon  hangs  in 
all  her  serene  beauty.  Mystery  enshrouds  all ; 
it  is  a  night  in  which  strange  things  might  oc- 
cur. In  such  a  scene  and  such  an  hour  we  can 
imagine  the  poor,  hopeless  artist.  When  a 
cloud  like  that  of  night  had  swept  over  his 
soul,  he  sought  the  woods,  and  there,  among 
his  only  friends  and  neighbors,  the  grass,  the 
flowers,  the  tiny  weeds,the  strong  thistles,they 
found  the  body  of  Leon  Bonvin. 

Surely  the  longing  of  his  beautiful  soul  now 
knows  that  which  was  denied  him  while 
among  men.  As  for  his  works,  they  will  live 

191 


No.  266 


BONVIN 


"His  works  are  the 

complete  confession  of 

the  whole  man, 

and  his  life  is  open 

as  the  day;  both 

one  and  the  other  have 

left  profound 

memories  in  the 

minds  of  those  who 

have  studied 

them." 

Philippe  Burty 


to  tell  the  silent  story  of  his  life.  That  they 
have  never  been  separated,  all  who  have  seen 
them  will  be  thankful.  That  they  have  fallen 
into  hands  that  will  treasure  them  because  of 
their  intrinsic  beauty,makes  one  feel  that,  after 
all,  perhaps  these  pictures  owe  to  the  unhap- 
py condition  under  which  they  were  created 
much  of  their  beauty.  The  sorrows  of  Millet 
brought  into  his  works  an  element  which  un- 
der happier  conditions  might  never  have  been 
expressed. 


LEXANDRE 

'Bida  was  a  student  under 
'Delacroix,  and  no  artist  of 
|  the  century  has  made  a 
|deeper  study  of  the  relig- 
ious side  of  Oriental  life 
/than  he.  As  an  illustrator 
of  Bible  subjects  he  is  un- 
IWdoubtedly  one  of  the  most 
'conscientious  and  careful 
among  the  artists  of  his  day.  Bida's  drawings 
are  studied  with  painstaking  skill.  They  are 
always  true  to  the  life  and  costumes  of  the  pe- 
riods and  countries  illustrated.  The  spiritual 
side  of  the  religious  sentiment  is  also  always 
strongly  developed.  Gerome  and  he  studied 
and  traveled  extensively  in  the  Orient  togeth- 
er, and  between  the  two  there  existed  a  strong 
friendship.  "When  the  remarkable  drawing, 
"Prayer  on  the  Housetops,"  was  shown  to 
Gerome  he  studied  it  in  silent  admiration,  then 
exclaimed,  "I  have  done  nothing  to  equal 
this."  The  drawings  of  Bida  are  highly  prized 
by  those  who  are  fortunate  enough  to  own 
them,  and  many  of  his  choicest  are  among  the 
treasures  of  this  household.  In  the  Louvre  a 
number  of  his  best  works  are  honored  as  they 
deserve. 

"Prayer  on  the  Housetop"  is  now  one  of 
this  collection.  Prayer,  a  distinct  part  of  hu- 
man emotion,  never  found  a  finer  expression 
than  in  this  drawing.  All  the  spiritual  com- 
munion that  is  a  part  of  Oriental  religion  is 
brought  vividly  before  you.  Standing  on  the 
top  of  a  house,  with  folded  hands  and  covered 
head,  the  devotee,  his  face  up-turned,  utters 
his  prayer.  His  figure,  a  dark  and  somber  robe 
covering  it,  with  statuesque,  bronze-like  ef- 
fect stands  full  against  the  evening  light.  Be- 

193 


BIDA 


No.  204 
"AND  JESUS  SAID: 

THIS  DAY  IS 
SALVATION  COME 
TO  THIS  HOUSE." 


NO.  202 

"MOSES" 

"This  artist  repre- 
sents with 
wonderful  power  the 
life  and  scenery 
of  Oriental  countries, 
and  his  scriptural 
scenes  are  not 
surpassed  in  force 
and  directness 
by  any  other  painter 
of  like  motives." 
Clara  Erskine 
Clements 


side  him,  and  prostrate  on  the  roof,  is  a  man 
who  silently  listens,  or  utters  his  own  devo- 
tional plea  to  the  great  Allah.  On  buildings 
farther  away,  others  are  seen.  Beyond  them, 
bathed  in  a  strange  atmosphere,  are  the  domes 
of  mosques  and  temples.  In  the  upper  sky  are 
some  clouds  that  run  horizontally  across  the 
picture  and  give  a  strange  effect  to  the  scene. 
The  composition  of  the  picture  is  so  pure,  so 
simple,  and  so  devotional  in  feeling  that  you 
can  not  stand  in  front  of  it  without  realizing 
the  emotion  it  strives  to  express. 

Another  important  drawing  is"Christ  Bless- 
ing the  Household  of  Zachariah."  "And  Jesus 
said:  This  day  is  salvation  come  to  this  house." 
A  more  beautiful  ideal  of  Christ  was  probably 
never  drawn  than  this  exquisite  one  of  Bida's. 
Jesus  stands  in  the  door  of  the  house  of  Zach- 
ariah, in  the  midst  of  a  flood  of  light  which 
falls  on  his  back,  throwing  the  front  of  his  fig- 
ure into  shadow.  "With  one  hand  he  holds  the 
door  ajar ;  the  other  is  outstretched  toward  the 
master  of  the  house,  who  stands  in  an  attitude 
of  welcome.  The  drawing  displayed  through- 
out the  picture  is  masterly.  The  greatest 
charm,  however,  is  the  magnificent  rendering 
of  light.  It  is  simply  indescribable  in  its  effect. 

There  is  a  grandeur  in  the  life  and  character 
of  Moses  that  has  engaged  the  attention  of  the 
greatest  masters  of  all  ages.  In  his  drawing 
of  the  Hebrew  law-giver,  Bida  has  represent- 
ed him  as  tending  his  flock.  He  is  sitting  on  a 
rock,  in  a  wild  mountainous  landscape,  and 
clothed  in  a  robe  which  falls  in  simple  folds. 
He  appears  to  be  in  deep  meditation,  the  char- 
acter of  the  man  being  strongly  and  carefully 
brought  out.  Back  of  him  is  a  ledge  of  rocks, 
between  which  bits  of  sky  show.  This  draw- 
ing, dark  shadowy  and  somber,  bears  an  ex- 
194 


pression  of  gloom  that  is  very  dramatic,  and  is  BIDA 
a  worthy  conception  of  this  great  personality. 
In  another,  on  the  steps  of  a  temple,  whose 
columns  rise  grandly,  are  grouped  "The  Fool- 
ishVirgins,"  bearing  their  empty  lamps.  Some 
are  standing,  while  others  lie  sleeping  on  the 
floor.  Back  in  the  shadowy  doorway  are  those 
who  knocked  at  the  door,  only  to  be  disap- 
pointed. There  is  much  beauty  in  the  graceful 
figures  of  the  women  and  a  certain  indolence 
is  expressed  in  them  that  is  in  keeping  with 
the  subject. 


No.  229 

THE  FOOLISH 
VIRGINS" 


XII 


"If  I  should  now 

be  asked  what  is  in 

my  opinion  the 

master  quality 

of  Barye,  I  should 

say  that  it  was  force. 

That  and  order 

are  the  merits  of  the 

master  upon 

which  we  must 

above  all  insist." 

M.  Eugene  Guillame 


HE  BARYE  COLLEC- 
TION *Sfc£  Barye,  above 
all  things,  was  original. 
Gericault  paved  the  -way 
for  Delacroix.  The  great 
Millet  was  the  culmina- 
tion of  a  movement  in- 
augurated by  Chardin.  In 
fact,  almost  every  dis- 
tinct evolution  in  art  has 
been  the  result  of  gradual  growth,  or  develop- 
ment, but  there  was  no  prophet,  no  John-the- 
Baptist,  to  prepare  the  way  for  Barye;  he  was 
alone,  and  was  understood  by  very  few.  Dur- 
ing the  early  period  of  his  childhood,  while  yet 
at  play,  the  love  of  animals  showed  itself, when 
every  substance  that  would  yield  to  his  touch 
was  shaped  into  miniatures  of  them.  One  of 
the  great  lessons  to  be  learned  from  the  life  of 
this  master  was  the  persistency  with  which  he 
met  and  overcame  all  obstacles,  surmounted 
all  difficulties.  He  studied  the  character,habits 
and  peculiarities  of  animals  with  a  tenacity 
that  is  unparalleled  in  the  annals  of  art.  Not 
content  with  the  materials  of  the  plastic  art, 
every  conceivable  method  of  art  expression, 
oil,  water-color,  pencil,  crayon,  pen  and  etch- 
ing point,  each  found  in  him  a  student,  strug- 
gling for  mastery.  Barye  was  a  colorist  of 
strange  weird  power;  he  always  found  the 
tones  best  fitted  to  his  subject.  This  is  not 
196 


alone  true  of  his  paintings,  but  also  applies  to 
his  immortal  bronzes,  where  color  and  texture 
are  strongly  felt. 

For  three  thousand  years  the  grand  possi- 
bilities of  life  in  the  animal  kingdom  as  themes 
for  art  had  been  lost  sight  of,  save  in  the  half- 
animal  and  half-human  types  found  in  pict- 
ures of  mythological  subjects,  or  when  used 
as  motives  in  entirely  conventionalized  forms. 
Suddenly  some  unseen  force  awakened  the 
slumbering  powers  of  Barye's  genius  into  a 
living  flame  whose  brilliancy  was  to  light  the 
way  to  a  greater  appreciation  of  one  of  the 
great  links  in  the  chain  of  constantly  evolving 
life.  Like  the  persistency  of  Truth  was  the 
gradual  growth  of  interest  in  his  matchless 
works.  At  first  the  bigoted  and  prejudiced 
power  that  presumes  to  dictate  what  shall  con- 
stitute art  met  every  new  work  with  ridicule  or 
bitter  denunciation.  Repeatedly  were  the 
works  of  this  man  of  destiny  rejected,  and 
medals  awarded  to  men  whose  coming  and 
going  we  now  see  caused  scarcely  a  ripple  on 
the  great  ocean  of  creative  art.  But  while  those 
in  authority  were  denying  his  talent,  the  pub- 
lic hailed  with  delight  the  advent  of  each  new 
piece.  Poverty,  the  crucible  in  which  genius 
is  often  tried,  was  not  unknown  to  him,  his 
early  work  being  entirely  lost  under  the  name 
of  his  employer,  but  genius  will  show  itself; 
only,  however,  as  the  direct  result  of  persistent 
toil.  It  is  a  pleasure  to  know  that  one  of  the 
first  to  appreciate  and  lend  substantial  aid  to 
him  was  the  proprietor  of  this  collection  of  his 
works.  There  existed  a  friendship  between 
him  and  the  artist  that  covered  thirty  years  and 
never  dimmed.  A  short  time  before  Barye's 
transition,  as  trustee  of  one  of  the  great  art  in- 
stitutions of  this  country,  this  friend  placed  an 

197 


THE  BARYE 
COLLEC- 
TION 


"A  complete  sincerity, 
and  profound 
knowledge  have 
served  and 
illuminated  his 
genius.     The 
structure  of  beings, 
their  attitudes, 
their  movements, 
their  instincts,  he 
has  penetrated  and 
expressed  with  the 
calm  haughtiness  of 
a  Lucretius  who 
sees  in  the 
balance  of  life  and 
death  the  play 
of  unflinching  law." 
M.  Poubelle 


THE  BARYE 
COLLEC- 
TION 


"The  genius  of 

Barye,  like  many 

great  artists  of  our  time, 

has — to  our  shame 

be  it  repeated — 

been  earlier 

and  more  generally 

recognized  in 

America  than  in 

Great  Britain. 

The  better  half  of  all 

his  portable  works, 

in  its  finest 

examples,  is  at 

the  present 

moment  in  the 

United  States. 

Baltimore  is  the 

resting-place  of  the 

greater  number  of 

the  master's 

productions." 

The  Art  Journal 


"The  water-colors 

of  Barye  are  no 

less  remarkable  than 

his  bronzes.    They 

have  the  same 

qualities,  grandeur  of 

aspect  and  intensity 

of  life." 

Eugene  Veron 


order  in  his  hands  for  copies  of  all  his  avail- 
able works.  When  told  this,  Barye  threw  up 
his  hands,  and  exclaimed,  "My  God,  my  coun- 
try never  did  this  for  me !" 

In  the  room  dedicated  to  Barye  in  this  house 
are  the  priceless  originals  which  represent  al- 
most the  entire  work  of  his  life.  Thus  the  most 
comprehensive  collection  of  Barye's  work  is 
to  be  found  in  the  house  of  his  friend.  In  the 
beautiful  square  in  front  of  it  is  the  first  mon- 
ument ever  erected  to  his  memory.  It  consists 
of  five  bronzes,cast  by  Barbedienne,the  famous 
"Lion  in  Repose,"  very  large,  and  four  groups, 
"Peace,"  "War,"  "Force  Protecting  Labor" 
and  "Order  Protecting  the  Industrious  and 
Learned  Nations." 

The  visitor  will  be  struck  by  the  strange  ex- 
pression found  in  the  water-colors  and  studies 
in  oil  which  adorn  the  walls  of  the  Barye  room. 
In  some  of  them  the  artist  has  advanced  far  in- 
to the  province  of  Eugene  Delacroix.  There 
is  a  peculiar  tone  in  some  of  them  that  looks 
as  though  they  had  had  their  source  in  molten 
bronze.  In  one,  you  are  in  a  damp,  marshy 
place  where  rank  verdure  grows  and  in  which 
venomous  reptiles  have  their  haunts.  On  the 
limb  of  a  tree,  a  strange  swampy  growth,  amid 
dark  rich  foliage  worthy  of  Rousseau  or  Diaz, 
are  coiled  brilliantly  colored  serpents.  In  an- 
other is  painted  a  wild  mountainous  country, 
in  the  midst  of  whose  solitude  is  a  lion,  the 
sole  master  of  the  field.  Another  represents  a 
desolate  sea-shore,  showing  a  broad  expanse 
of  water  as  a  background  against  which  the 
ponderous  form  of  an  elephant  is  seen.  The 
wild  deer,  the  fierce  tiger,  the  beautiful  leop- 
ard, whose  spots  tell  with  delightful  effect 
against  deep  olive-toned  foliage  and  moss- 
covered  rocks — indeed  in  the  entire  array  of 
198 


drawings,  not  only  the  skill,  but  the  tempera- 
ment of  the  artist  is  revealed  in  a  wonderful 
way. 

From  these  let  us  turn  to  the  grand  originals 
in  bronze  that  will  live  throughout  the  endless 
cycles  to  come.  Varied  as  is  the  collection  in 
subject,  from  the  most  pretentious  groups  to 
the  tiniest  objects,  all  are  treated  with  serious- 
ness. Here  you  will  find  the  marvelous  "Or- 
leans Groups,"  those  grand  conceptions,  dis- 
playing the  terrible  force  of  wild  animals 
struggling  for  existence,  which  in  their  pow- 
er are  unsurpassed  in  any  epoch  of  art. 

"The  Tiger  Hunt"  is  a  powerful  study  of 
action.  On  the  back  of  a  huge  elephant  are 
three  natives  engaged  in  deadly  combat  with 
two  fierce  tigers,  one  of  which  has  leaped  near- 
ly on  to  the  men,  who  are  fighting  him  off  with 
spears.  On  the  opposite  side  of  the  elephant 
the  other  tiger  crouches  close  to  the  ground, 
ready  to  spring.  The  action  is  so  spirited  that 
you  almost  expect  him  to  leap.  It  is  so  true,  so 
vital,  and  expressed  with  such  skill  and  reality 
that  you  marvel. 

Thereissomethingstrangely  beautiful  about 
"The  Hunt  of  Wild  Ox,"  in  the  arrangement 
of  the  component  parts,  as  well  as  in  the  ac- 
tion. There  is  no  contrast  of  position;  instead, 
the  movement  all  runs  in  one  direction.  The 
two  men  in  armor  are  almost  identical  in  dress 
and  action;  the  horses  are  not  unlike,  and  the 
wild  ox,  who  is  crushed  to  the  earth  by  the 
weight  of  the  horses,  faces  in  the  same  direc- 
tion as  the  rest,  producing  almost  a  symphony 
of  line.  Underneath  the  group,  and  below  the 
prostrate  ox,  are  its  victims,  a  horse  and  man. 
At  the  rear  is  a  dog  that  has  been  killed.  Tak- 
ing all  in  all,  this  is  not  only  one  of  the  most 
brilliant  and  beautiful  of  Barye's  composi- 

199 


THE  BARYE 
COLLEC- 
TION 


"A  powerful  genius, 
all  observation 
and  patience,  which 
no  contradiction  ever 
moved,  and  which 
struggled  for 
sixty  years,  less  with  a 
desire  to  shine 
than  with  the  thought 
of  satisfying  itself 
by  rendering 
homage  to  truth." 
M.  Eugene  Guillame 


THE  BARYE 
COLLEC- 
TION 


"Carrying  his  eager 
researches  to  the 
regions  beyond  animal 
limits,  to  the  infinite 
of  the  spiritual  world, 
he  has  come  upon 
and  questioned  as  a 
philosopher  and  natur- 
alist, both  in  the 
attitude  and  expression 
of  beasts,  that  name- 
less spirit  which 
animates  and  directs 
them  in  the  eternity 
of  silence  to 
which  nature  has 
condemned  them." 
Theophile  Silvestre 


tions,  but  also  one  of  the  most  original  and 
worthy  of  notice. 

The  same  may  be  said  of  "The  Hunt  of  the 
Elk,"  distinguished  for  its  beautiful,  symmet- 
rical lines.  The  action  displayed  is  terrible  in 
its  realism.  In  it  man  and  beast  are  engaged 
in  a  deadly  hand-to-hand  encounter.  The  ar- 
rangement of  this  group  is  more  compact  than 
that  of  the  "Tiger,"  or  the  "Ox  Hunt." 

In  "The  Hunt  of  the  Bear,"  the  last  of  this 
distinguished  set  of  bronzes,  there  is  some- 
thing that  reminds  one  of  Millet;  the  drawing 
and  treatment  are  large  and  massive,  with  very 
little  detail,  and  like  "The  Hunt  of  the  Elk," 
it  is  close  and  compact  in  composition. 

"The  Silver  Lion"  is  a  beautiful  piece,  un- 
surpassed in  the  realm  of  animal  sculpture. 
His  noble  bearing  stamps  him  truly  the  king 
of  beasts.  The  action  is  wonderful;  you  can  al- 
most see  him  stealthily  walking  past,  his  eye 
apparently  directed  to  some  object  far  away. 
Power  and  force  are  written  in  every  muscle. 
This  great  work  was  given  by  the  city  of  Paris 
as  the  Grand  Prize  at  the  Longchamps  Races 
of  1863.  Barye,  upon  being  commissioned  to 
make  it,  carefully  estimated  the  amount  of 
silver  required.  On  its  completion,  finding  it 
lacked  a  small  quantity  of  the  amount  he  had 
been  allowed,  he  had  what  remained  made  in- 
to a  bar  and  carefully  screwed  underneath  the 
base,  thus  satisfying  his  conscience.  "When, 
after  long  and  fruitless  efforts,  the  present 
owner  succeeded  in  securing  the  work,  and 
informed  Madame  Barye,  the  wife  of  the  art- 
ist, of  the  fact,  she  became  very  anxious  to  ex- 
amine it,  making  known  for  the  first  time  the 
incident  related.  She  turned  it  over  and,  with 
her  face  beaming  with  joy,  exclaimed,  "It  is 
there ! "  As  long  as  the  masterpiece  remains 
200 


in  the  hands  of  its  present  owner  will  the 
evidence  of  the  simple  honesty  of  his  friend 
be  a  source  of  pleasure.  It  is  the  dream  of  the 
owner  of  this  matchless  work  to  see  a  colossal 
bronze  reproduction  of  the  Silver  Lion  placed 
on  a  simple  foundation  to  commemorate  the 
life  of  General  U.  S.  Grant.  Certainly  it  would 
be  a  grand  thing  and  would  go  far  towards  off- 
setting the  miserable  array  of  public  statuary 
in  our  cities. 

The  variety  of  Barye's  work,  both  as  to  sub- 
ject and  manner  of  treatment,  seems  always 
fresh  and  inspiring,  whether  in  the  realms  of 
mythology  or  in  the  delineation  of  a  simple 
bird  or  a  small  lizard.  There  is  sometimes  a 
drollery  expressed  in  a  small  space  of  two  or 
three  inches  that  causes  one's  face  to  wreath 
in  smiles,  as  in  "The  Dancing  Bear,"  or  the 
"  Heron  and  the  Tortoise." 

You  have  but  to  turn  around  here  and  your 
eye  falls  on  another  expression  of  animal  life 
delineated  with  a  power  that  is  wonderful.  I 
mean  the  "Jaguar  Devouring  a  Hare,"  one  of 
the  best  things  from  the  master.  Hungry  and 
famished,  a  jaguar  has  pounced  upon  a  help- 
less hare.  Crouching  flat  to  the  ground,  he 
crushes  his  teeth  into  its  body  and  sucks  its 
warm  life  blood,  the  effect  of  which,  touching 
the  sense  of  taste,  causes  sensations  of  delight 
to  quiver  through  his  form — sensations  which 
he  feels  to  the  tip  of  his  tail ! 

"The  Walking  Wolf"  belongs  in  the  first 
rank  of  Barye's  works.  It  was  dedicated  to  his 
friend,  Theodore  Rousseau.  The  presence  of 
this  animal  might  be  expected  in  the  mysteri- 
ous shadows  that  lie  afar  down  the  mid-dis- 
tance of  the  matchless  landscape,  "Winter 
Solitude." 

Character  is  the  chief  point  in  the  grotesque- 

201 


THE  BARYE 
COLLEC- 
TION 


"This  exhibition  of 
Barye's  works  is  impos- 
ing, as  well  from 
number  as  from  the 
quality  of  the  pieces 
composing  it.   It 
appeals  to  the  feelings 
also,  because  it 
bears  testimony  of  an 
immense  labor,  and 
of  that  indefatigable 
conscientiousness 
which  is  the  honesty 
of  art." 

Charles  Blanc 


THE  BARYE  looking  dromedary  whose  angular,  awkward, 
COLLEC-  shambling  movement  is  naively  given,  and 
TION  again  in  the  clumsy,  rollicking  action  of  the 
"Elephant  Running." 

A  remarkable  group,  in  many  ways,  is  the 
"  Elk  Surprised  by  a  Lynx."  The  action  and 
the  ferociousness  of  the  lynx  are  expressed 
with  directness  and  power.  An  elk  has  been 
caught  by  a  lynx,  whose  teeth  and  claws  are 
fastened  into  the  back  of  its  neck.  The  fleet- 
footed  stag  is  helpless,  and  with  head  thrown 
back,  sinks  to  the  earth  in  agonies  of  pain. 

The  "Panther  Seizing  a  Stag"  is  like  the 
former  in  its  realism.  The  conception  and 
modeling  is  broad  and  in  spirit  it  is  like  the 
"Hunt  of  the  Wild  Ox." 

The  "Python  Crushing  a  Crocodile"  is  a 
marvelous  piece  of  drawing,  and  as  a  work  of 
modeling,  nothing  could  surpass  it.  The  slimy 
texture  of  the  huge  reptile,  the  graceful  curves 
of  its  body,  and  the  ease  with  which  the  coils 
are  rendered,  make  it  a  remarkable  perform- 
ance. The  "Mounted  Arabs  Killing  a  Lion"  is 
a  strongly  composed  group,  and  the  "Tartar 
Warriors  Checking  a  Horse"  is  another  in- 
stance of  Barye's  power  of  rendering  action. 

In  the  collection  are  numerous  models  in 
wax,  a  material  much  used  by  him.  Here  is 
the  original  model  of  "The  Walking  Tiger," 
one  of  Barye's  greatest  figures.  The  muscular 
action,  structure  of  the  bones,  massive  vise- 
like  jaw,  and  stealthy  tread  will  challenge  the 
art  of  any  age,  ancient  or  modern.  The  great 
seated  lion, called  "The  Philosopher,"  is  grand 
in  its  dignity.  And  so  throughout  the  entire  an- 
imal kingdom  this  universal  genius  wrought 
with  equal  power. 

Not  confining  himself  to  the  delineation  of 
animals,  he  also  delved  into  the  classic,  the 
202 


ideal,  and  portraiture,  and  wherever  his  hand 
touched,  there  sprang  forth  revelations  of 
beauty.  In  "Roger  Bearing  Angelica  on  a 
Hippograff,"  the  skill  in  the  rendering  of  ac- 
tion, that  was  always  fine  in  Barye,  found  its 
most  beautiful  expression.  The  hippograff, 
with  its  burden  of  beauty,  fairly  flies  through 
the  air,and  the  nude  form  of  Angelica  is  charm- 
ingly drawn.  "Theseus  Slaying  the  Centaur 
Bianor,"  is  a  masterpiece  already  rated  among 
the  grand  creations  of  plastic  art,  and  the  ver- 
satility of  Barye  is  brought  vividly  before  us 
as  we  contemplate  his  wonderful  work  in  the 
field  of  decorative  art,  chief  among  which  is 
the  "Candelabra  of  the  Three  Goddesses," 
which  will  compare  favorably  with  the  works 
of  masters  who  devote  their  whole  lives  to  dec- 
orative sculpture.  Whatever  Barye  undertook 
was  always  well  done ;  all  things  were  serious 
to  him  and  found  in  him  a  serious  interpreter. 
Life  was  but  a  span;  work  alone  could  lead  him 
into  the  realization  of  the  dreams  of  beauty 
that  filled  his  mind  and  were  waiting  to  be  cre- 
ated. Men  may  come,  and  men  may  go,  who 
will  meet  the  requirements  of  the  purely  tech- 
nical, but  many  decades  will  pass  before  an- 
other shall  bring  such  originality  of  genius 
into  his  work  as  did  he.  In  the  realms  of  his 
chosen  field  of  art,Anton  Louis  Barye  is  alone. 


THE  BARYE 
COLLEC- 
TION 


"From  whatever 
distance  and  from 
whichever  side  we  look 
upon  Barye's 
bronzes  or  plasters, 
we  find  this  impression 
and  this  character: 
his  works  remain 
artistic,  and,  by  the 
pride  of  their  carriage 
and  the  clearness 
of  their  outline,  bear 
a  victorious  com- 
parison with  the 
greatest  works  of 
Assyrian  sculpture." 
M.  Eugene  Veron 


XIII 


HE  PEACHBLOOM 
VASE  ^€  Some  years 
ago  the  world  was  start- 
led by  the  news  that  a 
small  vase,  the  property 
of  a  lady  of  wealth,  had 
been  disposed  of  at  an 
enormous  price.  The  in- 
cident was  glibly  com- 
_  lamented  upon  by  those 

self-constituted  learned  men  who  dispose  of 
things  beautiful,  born  of  the  celestial  spheres, 
with  the  same  quill  with  which  they  deal  out 
intellectual  beatitudes  on  pork  or  base-ball. 
For  them  this  little  vase  will  have  no  message. 
Its  proportions  are  entirely  too  diminutive ; 
but  if  all  the  beautiful  thoughts,  all  the  lovely 
hues,  all  the  sweetest  odors,  all  the  dainty  text- 
ures— in  fact,  if  all  the  beauty  of  the  art  and  na- 
ture of  the  land  of  the  celestial  were  distilled 
and  refined  into  some  material  and  shaped  into 
one  object  that  object  might  be  the  Peachbloom 
Vase.  It  is  the  perfect  flowering  of  hundreds  of 
years  of  Oriental  art,  the  culmination  of  cen- 
turies of  the  most  sacred  devotion  to  the  shrine 
of  beauty.  It  is  a  gem  that  needs  no  setting;  so 
frail,  so  perfect,  that  contrast  with  things  less 
esthetic  seems  almost  sacrilegious. 

Its  form  is  pure,  beautiful  and  self-poised.  Its 
color,  while  dainty,  is  matchless  in  its  depth. 
The  bloom  of  the  peach  conveys  only  a  shad- 
204 


owy  description  of  its  delicate  beauty.  Its  glaze 
is  of  great  perfection.  When  you  gaze  into  its 
depths  the  surface  is  lost  and  it  is  as  if  you  were 
looking  into  some  crystal-like  pool  of  water. 
Its  indescribable  pink  is  threaded  with  fine 
veins  of  mossy  green  that  are  charming.  Its 
beauty  can  not  be  measured  by  bounds  or  lim- 
itations; there  are  no  rules  by  which  it  can  be 
analyzed.  You  feel  its  power  coming  to  you 
like  the  odor  of  some  unseen  field  of  wild  jessa- 
mine. "Within  the  limitations  of  its  simple  form 
there  is  embodied  something  which  all  the 
wealth  of  the  world  can  not  create.  A  spirit  is 
expressed  in  it  that  all  the  centuries  of  our 
boasted  civilization  can  not  duplicate.  Go 
where  you  will,  in  any  clime,  you  may  search 
the  treasures  of  all  created  beauty  for  its  coun- 
terpart. It  is  not  to  be  found.  Then  can  such  a 
marvel  be  measured  by  wealth,  what  though 
it  cost  a  million  dollars,  if  ten  million  could  not 
reproduce  it  ?  In  a  special  case  in  the  Oriental 
Gallery  will  be  seen  a  number  of  fine  speci- 
mens of  this  variety  of  porcelain,  but  once  let 
your  eye  feast  on  the  exquisite  simplicity  of 
this  vase  and  you  have  advanced  into  a  higher 
realization  of  beauty. 

The  first  introduction  to  this  wonderful  piece 
of  porcelain  was  one  of  exultation,  of  joy  never 
to  be  forgotten.  Each  successive  sitting  with 
it  brought  new  influences,  new  sensations  of 
delight,  until  its  beautiful  spirit  had  found  an 
abode  where  it  will  linger  through  eternity. 
Its  plain,  simple  surface  is  without  a  touch  of 
decoration,  yet  it  is  the  perfection  of  decorative 
art;  its  entire  surface  might  be  covered  with 
your  hand,  yet  it  contains  a  world  of  grace.  It 
is  as  if  the  spirit  of  beauty  had  found  a  new 
birth,  had  been  reincarnated  into  its  simple 
form.  It  is  said  that  one  of  the  porcelains  that 

205 


THE 
PEACH- 
BLOOM 
VASE 


THE    was  held  sacred  by  the  ancient  celestials, 
PEACH-    whose  blue  color  was  likened  unto  the  sky 
BLOOM    after  a  rain,  became  almost  extinct,  and  the 
VASE    pieces  of  it  being  as  rare  as  the  most  precious 
stones,  were  worn  as  jewels.   So  who  knows 
but  that,  in  the  countless  generations  to  come, 
the  fragments  of  this  charming  vase  may  like- 
wise rival  the  precious  stones  of  those  days? 
Surely  nothing   could   surpass   its   intrinsic 
beauty.    Those  who  are  fortunate  enough  to 
have  felt  its  charm  can  congratulate  them- 
selves on  having  seen  something  that  has  no 
counterpart  in  the  civilized  world. 

HE  ORIENTAL  GAL- 
LERY ^t  The  Oriental 
Gallery,  to  which  the  vis- 
itor is  introduced  before 
entering  the  main  gal- 
lery, contains  one  of  the 
most  comprehensive  and 
important  collections  of 
its  kind  to  be  found  any- 
where  outside  of  the 

great  national  museums  of  Europe.  This  is 
especially  true  of  the  Chinese  and  Japanese 
objects,  representative  of  the  golden  ages  of 
their  matchless  art;  some  of  the  very  choicest 
specimens,  now  in  existence,  are  treasured 
within  this  room. 

In  their  simplicity  and  gracefulness  of  form, 
delicacy  of  texture,  and  purity  of  color  nothing 
could  surpass  the  potteries  and  porcelains  of 
the  Chinese.  The  records  of  that  nation  show 
that  pottery  was  produced  by  them  some  three 
thousand  years  prior  to  theChristian  era.  From 
that  time  to  the  early  part  of  the  last  century 
the  art  flourished,  at  times  reaching  a  perfec- 
tion never  equaled  by  any  other  nation.  Beau- 
ty was  the  ideal,  the  very  soul  of  their  art,  and 
206 


nature  the  inexhaustible  source  of  their  inspi-    THE 
ration,  the  great  school  wherein  perfect  form    ORIENTAL 
and  color  -were  combined  in  objects  of  unri-    GALLERY 
valed  beauty.  In  their  porcelains  are  found  all 
the  varied  colors  and  textures  of  both  fruits 
and  flowers,  the  green  sap  of  the  verdure,  the 
ethereal  blues  of  the  sky,  the  rich  warm  red 
of  the  blood  of  the  ox,  the  delicate  forms  and 
textures  of  the  eggs  of  the  fish,  beautifully  sug- 
gested in  the  crackled  effects,  the  deep  black- 
greens  and  texture  of  the  melon,  the  delicate 
hues  of  tea,  and  the  bloom  of  the  peach,  the  in- 
comparable colors  of  the  plum;  in  fact,  the  pos- 
sibilities of  nature's  suggestiveness  seem  to 
have  been  almost  exhausted  by  them. 

The  opening  of  their  ports  and  the  conse- 
quent introduction  of  western  business,  with 
its  so-called  civilization,  came  like  a  blight  to 
the  flower-like  art  of  the  Orient,  causing  it  to 
wither  and  die.  Then  the  light  which  had  il- 
lumined the  land  of  the  celestial,  whose  beauty 
was  like  the  stars  set  into  the  fathomless  blue 
of  the  night,  in  so  far  as  production  was  con- 
cerned, was  completely  buried  beneath  the 
rubbish  of  insincerity  and  multiplicity  of  com- 
mercial institutions. 

The  Japanese,  like  their  neighbors,date  their 
art  far  back  into  the  dim  past,  and  like  them, 
the  art  of  this  people  is  a  growth  that  has  be- 
come a  part  of  their  being,  distinct  and  charac- 
teristic. Strange,  weird  and  grotesque,  their 
forms,their  decorations  are  so  imbued  with  the 
Japanese  character  that  all  attempts  of  others 
to  imitate  them  have  proved  futile.  However, 
the  art  of  Japan  has  exerted  such  a  wide  influ- 
ence over  the  art  of  western  nations  that  to- 
day it  permeates  almost  all  the  schools  of  the 
civilized  world.  As  religions  of  the  East  have 
always  exalted  beauty,  fostered  spirituality 

207 


THE 

ORIENTAL 
GALLERY 


"Regarding  the 
ceramic  art  from  the 
stand  of  true  decorative 
principles,  whether 
in  its  strongest 
characteristic,  or  in 
the  more  subtle  refine- 
ment and  delicacy 
of  treatment  both  of 
color  and  general 
manipulation,  there 
can  be  no  question 
that  the  Chinese  have 
established  their  pre- 
eminence in  this 
artistic  development, 
compared  with  all 
that  has  been  accom- 
plished up  to  the 
present  time." 
From  the  introduc- 
tion to  pamphlet  on 
the  Orientals  of 
the  collection 


From  a  paper  on 
Japanese  lacquers  in 
The  Art  Amateur, 
October,  1880 
"The  largest  and  best 
collection  in  the 
United  States  is  un- 
doubtedly that  of 
Mr.  W.  T.  Walters, 
of  Baltimore,  and 
dealers  who  ought  to 
know  say  that 
there  is  no  private 
collection  in  Europe  to 
surpass  it." 


and  suppressed  grossness,  so  the  beauty  and 
purity  of  their  art  is  ever  an  inspiration  to 
higher  and  better  forms,  and  leads  you  at  once 
to  nature. 

In  this  room  the  connoisseur  will  find  an  ex- 
haustive collection  of  Chinese  porcelain  and 
pottery.  The  Chinese  collection  alone  num- 
bers fourteen  hundred  pieces,  and  the  Japan- 
ese three  or  four  hundred, -while  other  objects, 
such  as  bronzes,  ivories,  lacquers,  swords  and 
various  appliances  of  swords,  jades,  crystals, 
in  fact  everything  of  interest  covering  centu- 
ries of  history,  are  here  to  be  seen — a  collec- 
tion of  over  four  thousand  pieces.  Arranged  in 
cases  in  the  main  gallery  will  be  found  a  beau- 
tiful and  comprehensive  collection  of  gold  lac- 
quers, covering  a  period  of  over  eight  centu- 
ries, the  finest  collection  of  this  kind  of  lac- 
quer in  the  world.  It  is  a  delightful  array  of 
the  art  that  is  above  all  Japanese  in  character, 
in  its  beauty  of  color,  strangeness  of  form 
and  gracefulness  of  line.  Every  touch,  every 
splotch,  has  meaning,  has  expression  in  these 
matchless  productions.  The  spaces  wherein 
the  surface  was  not  even  touched  by  the  hand 
of  the  artist  is  still  full  of  decorative  suggest- 
iveness.  In  other  words,  the  Japanese  artist, 
with  a  sweeping  line  and  a  splash  or  two  of 
his  brush,  can  fill  a  space  with  an  ease  and  ef- 
fect that  no  one  else  can  approach.  That  free- 
dom which  artists  of  other  nations  seek  for  in 
vain,  and  can  only  catch  by  accident,  seems 
natural  with  the  Japanese.  Accidents  play  no 
part  in  the  results  obtained  by  the  men  of  the 
Orient,  who  attain  only  by  persistent  and 
painstaking  work  in  the  production  of  these 
lacquers,  so  spontaneous,  so  free  and  thor- 
oughly decorative.  Years  of  labor  in  the  pro- 
cess of  lacquer-making  have  been  essential  to 
208 


their  production,  work  which  never  has  been     THE 
and  never  will  be  rivaled.  ORIENTAL 

Aside  from  the  Oriental  collection  will  be  GALLERY 
found  most  beautiful  specimens  of  the  choic- 
est ceramics  of  other  nations.  This  room  is,  in- 
deed, a  veritable  world  of  beauty,  and  becomes 
a  joy  forever  to  those  who  study  it  long  enough 
to  truly  see  it. 

JAPANESE  AND  CHI- 

'NESE  BRONZES  *^£ 

[Where  there  is  so  much 

beauty  and  such  infinite 

variety  it  is  impossible  to 

'describe  all,  but  we  can 

not    pass    the    bronzes 

without  stopping  to  do 

homage  to  them.   Of  all 

the  materials  through 
which  art  has  sought  expression,  none  pos- 
sesses a  more  sober  elegance  than  bronze,  and 
no  material  in  which  the  creations  of  genius 
have  been  embodied  has  withstood  the  storms 
of  centuries  with  so  little  deterioration.  That 
silent  sentinel  of  by-gone  ages,  Cleopatra's 
Needle,  in  Central  Park,  shows  the  ravages  of 
time  everywhere  save  where  this  beautiful 
metal  has  been  used.  On  its  surface  time  has 
failed  to  register. 

In  passing  from  the  Oriental  Gallery  you  en- 
ter a  little  room,  long  and  narrow,  whose  color 
and  effect  are  somber.  In  some  way  one  is  car- 
ried in  thought  to  the  sacred  temples  of  the 
East,  with  their  strange  mysteries,  for  whose 
service  some  of  the  greatest  triumphs  of  Ori- 
ental art  have  been  executed.  A  finer  expres- 
sion of  the  sacred  art  of  the  East  could  not  be 
found  than  in  the  large  bronze  incense  burner 
which  stands  in  the  center  of  the  Oriental  Gal- 
lery from  the  sacred  temple  of  Kanyeizi  in 

209 


JAPANESE   Uyeno,  Tokio,  to  which  it  was  dedicated  in  the 
AND   year  1700.   The  revolutions  of  1867  proved  dis- 
CHINESE   astrous  to  the  revenue  of  the  priests,  who,  be- 
BRONZES   ing  compelled  to  part  with  this  great  work,  sold 
it  to  a  collector  in  Tokio,  from  whence  it  passed 
into  this  collection.    It  shows  all  the  charac- 
teristic ingenuity  of  Japanese  art.  A  huge  sea 
dragon  holds  the  lid,  which  is  surmounted  by 
the  god  of  the  sea.  It  is  symmetrically  spiral 
in  form  and  is  wonderfully  impressive  in  size, 
being  some  twelve  feet  high. 

A  description  of  the  many  remarkable  works 
in  Japanese  bronze  would  be  too  lengthy  for 
the  space  allotted  here,  but  we  must  not  forget 
the  Chinese  bronzes  which  occupy  one  side 
of  the  smaller  room.  Here  the  same  distinct 
personality  thatissomarkedintheirporcelains 
is  seen  in  beautiful  objects  into  which  silver, 
gold  and  varied  metals  have  been  beaten  into 
the  bronze  with  charming  effect.  Here  will  be 
found  incised  work  as  well  as  relief,  in  which 
all  of  their  quaint  skill  is  expressed.  One  of  the 
most  charming  things  in  the  Chinese  collec- 
tion is  a  vase  whose  smooth  surface  is  irides- 
cent with  color  into  which  flakes  of  malachite 
have  been  introduced  with  unique  effect.  The 
process  by  which  this  strange  work  was  ac- 
complished is  unknown.  As  a  collection  it  is 
distinct  because  of  the  distinguished  bronze 
workers  represented.  It  embraces  the  great- 
est known  to  Chinese  and  Japanese  art. 


XIV 


HE  HEAD  IN 

Among  the  many  rare  ob- 
jects which  have  an  abid- 
ing place  in  this  house- 
hold, the  one  known  as 
"The  Head  in  Wax" 
holds  an  enviable  place. 
It  has  no  parallel,  save  in 
its  counterpart,  attribu- 
_  ted  to  Raphael,  which  is 

treasured  in  the  museum  at  Lille,  France,  of 
which  this  is  a  remarkable  copy.  It  is  so  per- 
fectly done  that  the  most  expert  could  not 
distinguish  one  from  the  other.  It  was  exe- 
cuted by  request  of  M.  Alexandre  Dumas,  fils, 
who  feasted  on  its  beauty  while  he  lived.  The 
bust  is  about  half  life-size  and  represents  a 
young  woman  of  remarkably  fine  face,  Italian 
in  type,  and  of  a  blonde  complexion.  The  hair, 
which  is  rather  sandy  in  color,is  arranged  sim- 
ply on  the  forehead  and  gathered  back  over 
the  ears.  The  forehead  is  charmingly  devel- 
oped and  has  great  expression.  The  brows  are 
full,  extend  well  over  the  eyes,  and  are  ex- 
quisitely formed.  The  eyes  are  sensitive  and 
slightly  sad  in  expression.  The  joining  of  the 
nose  with  the  brows  is  delicately  treated,  the 
lines  curving  up  and  uniting  with  the  brows 
in  a  way  that  is  simple  and  beautiful.  The  nose 
is  a  little  long,  though  not  prominent,  being 
slender;  the  nostrils  are  delicately  defined. 

211 


It  is  attributed  to 
Raphael  because  it  is 
so  much  in  his 
sentiment  and  style. 
This,  however,  is 
doubted  by  many  who 
attribute  it  to  other 
sources,  as  it  is 
not  understood  that 
Raphael  ever  worked 
in  this  material. 
Be  that  as  it  may, 
there  is  something 
about  it  that  shows 
strongly  the  influence 
of  the  great 
Italian  master. 

R.  B.  G. 


"It  is  a  head  of 

penetrating  beauty. 

The  lips,  thin,  curved 

and  deliciously  full 

of  life,  are  illumined 

by  an  indescribable 

smile.    The  waving 

hair  is  of  a  dark 

golden  tone;  the  eyes 

sapphire  blue;  the 

lips  carmined — all 

painted  with  the  brush 

in  light  tones  which 

have  spent  themselves 

and  acquired  a 

real  softness.    The 

chin,  the  mouth,  the 

cheek,  the  arch  of 

the  brow  are  of  ideal 

perfection.  *  *  She 

becomes  a  sort  of 

worship  to  those  who 

know  her,  and  have 

spent  a  quiet 

half  hour  with  her." 

Louis  Gonse 


The  mouth  is  one  of  her  most  delightful  feat- 
ures and  is  modeled  closely  to  life,  being  free 
from  any  attempt  at  idealization.  The  lips 
seem  to  move,while  around  them  hover  intox- 
icating smiles  that  wreathe  and  play  like  rip- 
ples on  water  kissed  by  a  summer  breeze.  The 
lips  possess  all  the  fascinating  beauty  that 
lingers  around  the  corners  of  the  mouth  of  the 
matchless"Magdalene"of  Correggio.  The  chin 
protrudes  slightly,  giving  strength  of  charac- 
ter to  the  lower  part  of  the  face.  The  contour 
of  the  head  is  very  fine,  being  a  beautiful  oval. 
The  cheeks  are  slightly  slender,  and  give  a 
spiritual  effect  to  the  face,  which,  with  the  full- 
ness and  warmth  expressed  in  the  other  feat- 
ures, make  a  charming  character.  Underneath 
the  brow,  and  looking  out  from  the  shadows 
that  lurk  there,  the  eyes  droop  in  innocent 
modesty.  They  are  of  the  strange  pale  blue 
color  only  found  among  the  darker  races.  The 
neck  and  shoulders  are  shapely.  The  coloring 
is  chaste, pure  and  simple.  Innocence  and  ten- 
der maidenhood  rest  like  a  benediction  on  this 
lovely  head,whose  beauty  grows  upon  you  un- 
til you  are  fascinated  by  its  spell. 

It  is  well  described  in  the  following  letter 
from  Dumas  to  a  friend:  "I  would  like  to  show 
thee  on  a  table  near  my  book-case,  before  a 
large  silk  hanging  embroidered  with  fantas- 
tic animals  of  all  colors,  the  head  of  a  young 
girl  in  wax,  an  only  copy  which  I  have  had 
made  of  the  one  at  the  Museum  of  Lille,  which 
they  attribute  to  Raphael.  I  believe  it  to  be  by 
Leonardo,  but  my  opinion  does  not  alter  the 
fact.  This  head  is  divine.  Gras  copied  it  as 
a  labor  of  love.  It  is  the  great  All  in  a  small 
volume,  because  its  expression  is  the  image 
of  life,  and  the  material  of  which  it  is  made 
evokes  a  sensation  of  death." 
212 


VORIES:  "PSYCHE" 
AND  "PHRYNE"^& 
Two  of  the  most  beautiful 
ivories  that  are  in  exist- 
ence give  light  to  the  room 
in  which  they  are  placed. 
They  are  "Psyche"  and 
"Phryne."  The  latter, 
which  is  the  latest  acqui- 
sition to  the  collection,  is 
the  perfection  of  conscious  female  beauty.  Its 
style  and  qualities  point  to  it  as  of  the  six- 
teenth century,  and  it  has  been  attributed  to 
Benvenuto  Cellini,  but  is  more  likely  to  have 
been  by  John  of  Bologna.  The  artist  whose 
hand  formed  this  bit  of  ivory  into  the  exquisite 
embodiment  of  life  surely  dwells  in  the  realms 
of  the  beautiful  in  the  great  beyond.  I  can  think 
of  nothing  among  the  treasures  of  ancient  or 
modern  sculpture  more  perfect.  There  may 
be  grander  things,  there  may  be  higher  real- 
izations of  ideal  standards,  but  here  is  form  in 
its  perfection,  yet  warm  and  sympathetic  and 
full  of  the  charm  of  nature.  So  symmetrical,  so 
graceful,  so  exquisitely  shaped  is  it  that  noth- 
ing could  compare  with  its  peculiar  fascina- 
tion. 

The  figure  is  of  slender  type,  with  beauti- 
fully rounded  limbs,  so  slight  and  youthful  that 
she  looks  as  though  she  might  be  one  of  those 
nymphs  of  the  woods  who  dance  to  the  music 
of  the  waterfall.  The  pose  is  of  great  simplic- 
ity, being  graceful  and  natural;  when  viewed 
from  any  position  you  look  in  vain  for  a  blem- 
ish, a  weak  point.  The  textures  and  undulating 
lines  are  so  deftly  wrought  that  you  lose  the 
impression  of  the  substance  out  of  which  it  is 
formed  and  seem  in  the  presence  of  real  living 
flesh.  The  warm  color  of  the  ivory  gives  a 

213 


IVORIES  charm  that  is  especially  beautiful.  While  this 
little  figure  is  as  perfect  as  one  could  wish  and 
reaches  the  ideal  of  perfection  of  form,  yet 
there  is  a  truth  about  it  which  makes  you  feel 
that  it  is  a  careful  study  from  life. 

The  other  ivory  is  a  youthful  "Psyche." 
How  light  and  airy  is  this  charming  figure 
poised  on  tiptoe,  her  moth-like  wings  extend- 
ed as  if  she  were  about  to  rise  into  the  air. 
She  is  the  embodiment  of  youthful  and  uncon- 
scious beauty,  with  limbs  that  still  retain  some 
of  the  childish  form  whose  every  joint  ispinned 
with  dimples.  Chaste,  pure  and  innocent,  it  is 
as  joyous  and  happy  a  thought  as  ever  sprang 
from  the  hand  of  a  sculptor.  The  charming  face 
has  all  the  quaintness  of  a  Greuze,  and  the 
wonderful  growth  of  hair  that  is  gathered  into 
a  knot  on  the  top  of  the  head  is  so  finely  exe- 
cuted that  it  seems  to  have  the  fluffy  texture 
of  real  hair. 

What  a  beautiful  trio  these  marvelous  gems 
of  sculpture  make,  the  "Head  in  Wax,"  the 
"Psyche,"  and  the  "Phryne,"  unparalleled  in 
beauty,  faultless  in  execution,  and  stamped  by 
the  most  refined  genius!  And  yet  the  creator 
of  each  of  them  is  unknown. 


There  is  a  charm  in  old 
miniatures  that  suggests 
the  perfume  that  comes 
from  pressed  flowers  that 
have  been  carefully  laid 
away  and  treasured  be- 
cause    of  the   memories 
which  they  recall.  With 
miniatures  comes  the  in- 
fluence of  bygone  days,  with  its  stays,  bro- 
cades, powdered  wigs,  and  quaint  old  snuff 
boxes.    They  belong  to  a  time  when  culture 
214 


and  aristocracy  were  real.  The  miniature  has  a 
character  distinctly  its  own  among  the  graphic 
arts.  It  is  the  aristocrat  of  the  arts  of  painting, 
the  very  essence  of  dainty  elegance  and  re- 
finement. 

Here  areto  be  seen  some  charming  examples 
by  the  great  French  artist,  Jean  Baptiste  Isa- 
bey,  who  was  a  pupil  under  David,  the  leader 
and  apostle  of  classicism.  Isabey  shows  the 
influence  of  this  famous  school,  which  was 
chaste  and  refined.  The  portraits  of  Empress 
Josephine  and  Queen  Hortense,  No.  180  and 
No.  181,  are  two  of  his  best  works.  They  were 
both  painted  from  life.  They  are  exquisite  in 
finish,  pure  in  color,  and  have  an  elegance 
about  them  that  befits  the  station  of  the  sub- 
jects. No.  182  is  another  remarkably  fine  por- 
trait of  Empress  Josephine,  and  was  painted 
from  life  by  E.  Saint,  a  distinguished  artist  of 
the  period.  This  miniature  was  presented  di- 
rectly by  the  Empress  to  Marechale  Bertrand; 
it  is  so  inscribed.  The  Empress  is  represented 
as  she  is  painted  in  David's  great  picture  of  the 
coronation. 

No.  183,  by  Jean  Baptiste  Isabey,  represents 
Empress  Marie  Louise,  second  wife  of  Em- 
peror Napoleon.  No.  184,  by  N.  Fuger,  of  Vi- 
enna, is  a  fine  portrait  of  Marie  Therese  de 
Bourbon,  daughter  of  Louis  XVI  and  Marie 
Antoinette.  No.  185  is  a  miniature  of  Madame 
Elizabeth,  sister  of  Louis  XVI,  and  was  paint- 
ed from  life  by  Sauvage.  No.  186,  by  the  same 
artist,  represents  The  Dauphin  (Louis  XVII). 
A  remarkable  miniature,  representing  Empe- 
ror Napoleon  I  in  the  uniform  of  a  "Grenadier 
de  la  Garde,"  is  No.  187,  painted  from  life  by 
Jean  Baptiste  Isabey.  No.  188,  by  Talani,  is  a 
cameo  portrait  of  Empress  Josephine.  The 
above  miniatures,  180  to  188  inclusive,  were 

215 


MINIA- 
TURES 


"Isabey  was  the  head 
of  the  miniaturists. 
He  painted  with 
decision  and  breadth 
in  locket  pictures. 
Failing  as  a  historical 
painter,  he  was  a 
faultless  miniaturist  at 
a  day  when  that  art 
was  very  fashionable. 
He  treated  these 
minute  portraits  with 
a  real  breadth  of 
execution, 
and  had  a  long  and 
brilliant  career." 

Critique 


MINIA-    among  the  objects  inherited  at  St.  Helena  from 
TURES    Napoleon  I  by  the  Marechale  Bertrand,  from 
whose  grandson  they  came  directly  to  this  col- 
lection. 

No.  189,  by  E.  Saint,  is  of  Count  d'  Artois, 
brother  of  Louis  XVI,  and  afterwards  Charles 
Xof  France.  No.  191  is  a  portrait  of  Lord  Fitz- 
william,  painted  from  life  by  Richard  Cosway . 
No.  192,  by  Pierre  Adolphe  Hall,  a  pupil  of 
David,  represents  the  artist  Girodet,  a  distin- 
guished classicist  of  that  period.  No.  193,  by 
the  same  artist,  is  an  exquisitely  painted  min- 
iature of  Queen  Marie  Antoinette.  Hall  has 
been  called  the  VanDyck  of  miniaturists,  be- 
cause of  the  quality  of  his  work.  No.  194,  by 
Muneret,  a  pupil  of  Isabey,  represents  the 
Emperor  Napoleon  I,  and  Nos.  195  and  196, 
by  Camino,  are  portraits  of  the  artist's  grand- 
child. This  group  of  miniatures,  while  small 
in  numbers,  is  very  choice  in  quality  and  adds 
a  distinct  note  to  the  great  collection.  » 

FINAL  GLANCE  *^£ 
There  are  so  many  things 
of  importance  yet  un- 
l  mentioned  that  it  seems 
almost  a  crime  against 
ithe  beautiful  to  leave 
them  without  a  word  of 
recognition.   There  are, 
for  instance,  the  incom- 
parable  Chinese  and  Jap- 
anese draperies,  which  are  beautiful  beyond 
description;  and  the  charming  Marie  Antoi- 
nette Room,  a  perfect  facsimile  of  her  famous 
boudoir,  a  dream  of  blue  and  white  whose  ele- 
gance is  of  the  daintiest  sort.  Turning  from 
this  you  enter  a  Dutch  Room,  wherein  all 
the  sturdiness  of  the  Hollandish  character  is 
carved  into  wood  or  painted  into  tiles.    Here 
216 


and  there  throughout  the  house  are  mosaics,  A  FINAL 
curios,  jewels,  statuary  and  drawings.  The  GLANCE 
latter  include  many  works  of  Gavarni,  whose 
delineations  of  character  were  never  equaled. 
Among  other  remarkable  things  are  two  large 
volumes  of  original  drawings  by  the  most  em- 
inent artists  of  the  world,  in  which  each  one 
was  requested  to  give  his  individual  idea  of  the 
sentiment,  "Prayer,"  to  be  expressed  in  his 
own  way  and  confined  to  no  especial  religion. 
The  results  are  bound  in  two  immense  books 
of  matchless  beauty.  Since  the  descriptions 
were  written  of  the  pictures  found  in  this  col- 
lection, one  of  the  best  examples  of  George  In- 
ness  has  been  added,  thus  honoring  one  whose 
name  in  the  future  by  virtue  of  his  great  talent 
will  rank  among  those  whose  works  give  this 
collection  its  peculiar  distinction. 

So  with  the  myriads  of  beautiful  objects  yet 
unmentioned,  I  turn  with  a  feeling  akin  to  sad- 
ness back  into  the  humdrum  of  everyday, 
commonplace  things.  But  the  memory  of  the 
dreams  of  beauty  seen  and  felt  within  this 
modest  house  is  still  mine. 

No  sign  is  placed  to  tell  of  the  matchless 
treasures  in  the  house  on  Mt.  Vernon  Square, 
but  when  you  have  once  entered  its  portals 
you  are  lifted  into  a  grander  realization  of  life 
and  its  possibilities. 


INDEX   Achenbach  142 

Alma-Tadema  148 

Alma-Tadema  (water-color)  176 

Baker  169 

Barye  Collection,  The  196 

Becker  141 

Bida  193 

Bonheur  186 

Bonnat  99 

Bonvin  188 

Boughton  155 

Boughton  (water-color)  179 

Brandon  130 

Breton  108 

Bronzes,  Japanese  and  Chinese  209 

Cabanel  127 

Calame  164 

Carnino  216 

Chaplin  160 

Chavet  165 

Clairin  163 

Clays  164 

Clays  186 

Corot  ii 

Cosway  216 

Couture  80 

Dagnan-Bouveret  114 

Barley  185 


Daubigny  33    INDEX 

Decamps  75 

Delacroix  64 

Delaroche  41 

De  Neuville  116 

Detaille  161 

Diaz  27 

Diaz  (water-color)  174 

Dupont  185 

Dupr6  21 

Durand  168 

Elliott  169 

Fortuny  84 

Fortuny  (water-color)  174 

Frere  132 

Fromentin  77 

Fuger  215 

Gallait  46 

Gericault  63 

Gerome  104 

Giacomelli  187 

Gleyre  82 

Greuze  158 

Hall  216 

Head  in  Wax,  The  211 

Hebert  128 

Henner  166 

Hunt  187 

Isabey,  Eugene  71 

Isabey,  Eugene  (water-color)  180 

Isabey,  J.  B.  215 

Israels  182 

Ivories:  "Psyche"  and  "Phryne"  213 


INDEX    Jacquemart  179 

Jalabert  59 

Japanese  and  Chinese  Bronzes  209 

Jimenez  97 

Knaus  137 

Kurtzbauer  166 

Leys  54 

Madrazo  90 

Meissonier  in 

Meissonier  (water-color)  178 

Merle  129 

Millais  156 

Millet  i 

Millet  (water-color)  172 

Miniatures  214 

Miscellaneous — Works  in  Oil  158 

Muller,  Charles  L.  164 

Muller,  C.  Leopold  143 

Muneret  216 

Munkacsy  167 

Oriental  Gallery,  The  206 

Pasini  160 

Peachbloom  Vase,  The  204 

Pettenkofen  145 

Pils  183 

Plassan  161 

Preyer  167 

Rico  92 

Riviere  153 

Rotta  165 

Rousseau  7 

Rousseau  (water-color)  184 


Saint  ,  216    INDEX 

Saint-Eve  184 

Saint-Jean  161 

Sauvage  215 

Scheffer  69 

Scheffer  183 

Schreyer  124 

Smith  181 

Stevens  165 

Stone  169 

Stuart  168 

Talani  215 

Troyon  17 

Turner  146 

Van  der  Heist  159 

Van  Marcke  120 

Vautier  166 

Vernet  58 

Vibert  162 

Villegas  94 

Walker  184 

Water-Color  Gallery,  The  171 

Willems  166 

Woodville  186 

Works  in  Oil — Miscellaneous  158 

Yvon  159 

Zamacois  88 

Zamacois  (water-color)  175 

Ziem  37 

Ziem  182 


HIS  book  was  issued  by 
J.  M.  Bowles,  from  the 
press  of  Carlon  and  Hol- 
lenbeck,  Monument 
Place,  Indianapolis,  in 
April,  Eighteen  Hundred 
and  Ninety-five  £^£  The 
head-bands,  initials  and 
title-page  were  designed 

^ by  Bruce  Rogers  ^B£  The 

edition  consist  s~bfnine  hundred  and  seventy- 
five  copies  in  red  and  black  on  Michallet  paper, 
and  six  copies  on  Whatman  paper  with  the 
initials  rubricated  by  hand. 


